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Benedict Yu Donghwan Ko Fernanda Avendano Ines Domingues Laia Arnain Loraine Lynn Majd Alloush
Maryamsadat Amirvaghefi Nikolaos Mantziaris Ralph Klewitz Sabina Zentek Sara Vieira Stacy Lovejoy Tsuji Rieko
2018
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Benedict Yu Mountainscape of Void Untitled Conversation Between Heavens and Earth Trapped Island Noise
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Donghwan Ko Hoooome Concealed and Revealed House of Redlines
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Fernanda Avendano Modernidad Concreta 22
Ines Domingues Al-Tiba9 Art Magazine is an independent artist-run international publication which showcases experimental and progressive contemporary art, reflecting modern society and its environment, provoking conversation and action; fostering innovation and diversity of mediums which make today’s art scene so intriguing.
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Al-Tiba9 Mag covers photography, paintings, visual art, music, film and performance. Al-Tiba9 Mag covers Artists with a primary focus on contemporary visual art reflecting modern society and its environment. The magazine includes features on art (to add the final number of artists) selected artists from around the globe, it aims to give spotlight and to provide a unique art space for artists. Unlike gallery spaces, it aims also to create a space where individual artists can freely express themselves and become media themselves.and engage the selected artists with our readers and followers everyday through our social media, website and digital issues. We also publish Biographies, interviews and studio visits with artists and curators who inspire us and our audience. 2
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Laia Arnain Arte Disuelto 44
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Loraine Lynn 56 Hours beforeafter Manufactum Sac-cha-rine
Maryamsadat Amirvaghefi Basket Bowl You Will Miss Marmar They Have Nine Balls 158 CM Basketball Player
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Majd Alloush Between Water & Home
Nikolaos Mantziaris droga Ethans Cow Human Trafficking
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Ralph Klewitz WZ01_Mont7 WZ_133_b
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Sabina Zentek »From the deep waters I« »11 A.M/11 P.M.« »Die Summe seiner Teile...« a)»Genius Loci «/b)»Cernunnos«/c)»Phönix« »Membra Disiecta« »Acacia« »Lichtgestalt«
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Stacy Lovejoy Harvest of Talents Potion of Luck Programming Book of A Goal Her Wedding Party Hide and Seek In The Jungle Morning Flight To The Papaya Island New York Subway The Only Way IS Up Traffic Jam In Tokyo 80
Tsuji Rieko Fictionality 2017 Installation
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BENEDICT YU Benedict is a multi-disciplinary artist who explores and works with Eastern Philosophy, Eastern Aesthetics, Psychology, Anthropology, Sociology and Political themes. He holds dual citizenships from both Taiwan and Singapore. With the privilege of being based in two distinct countries, this gives him a unique opportunity to experience lives in both cultures. With a diploma in Fine Arts from Lasalle College of the Arts (Singapore), Benedict has in store an arsenal of experience in various projects and events. One such example would be the 2015 “Singapore Nightscape 2050” led by Kaoru Mende, CEO of Lighting Planners Associates (LPA). The event was collaborated among countries including Berlin, Hong Kong, Tokyo, and Singapore for the selected participants to discuss and create a future nightscape that will fit into the year of 2050. In 2016, he received a full scholarship from Lasalle and was invited to travel to Vietnam to be featured in 2! Magazine. For his final year 2017 in Lasalle, his self-proposal project won the Dr. Winston Oh Travel Award and was sponsored to travel to Lhasa, Tibet, in execution of his research. His works have been exhibited internationally in London, Kyoto, Singapore and Taiwan. Based mainly in Singapore, he has exhibited at the Marina Bay Sands Hotel and Art Stage Singapore. They are also among prized collections of collectors like the Deputy CEO of Mediacorp, Singapore Fashion Director; Jeremy Tan, Pan Xin Construction Company Taiwan, and a myriad of galleries and private collectors worldwide.
Mountainscape of Void, 2016, Books, dimension varied
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DONGHWAN KO I am interested in exploring the spaces that I have occupied in my past and the space I occupy in the present. My works revolve heavily around strong affiliation towards understanding the dynamic nature of the spaces which we define as home. The space of the home is the most personal and private space; it is comfortable and it separates me from the outside world. Also I believe that the home may be the most basic space for everyone and the foundation for all actions and memories. From the vantage point of the home, we create family—our first experience of community. But for me, a home is not a fixed space, but an imperfect space that changes or moves along with time. It is a temporary space that requires settlement and adaptation. So, while a home gives me a sense of security, I realize that it is a temporary personal space which is unstable and bound by factors that are outside of my control. Also I think that a home is paradoxically comfortable, warm, complex, limited, temporary, divided, and empty. The spaces I have stayed in for a period of time have all become home to me, both psychologically or physically. I am thinking about finding the meaning of the space I inhabit and considered what home means to me. As an artist living in an era where one moves around and has to remain flexible while staying for varying lengths of time in different accommodations and cultures, adapting to the role of the migratory citizen of this contemporary world.
Concealed and Revealed
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FERNANDA AVENDAÑO Fernanda Avendaño’s work’s starts from the investigation of public urban spaces, using painting and graphics techniques. She seeks to represent the contradictions present in urban landscape: its utopian planning and its weathering, as well as its material inability to generate emotional ties with its inhabitants, the use of these as transit, its abandonment and ruin. Some places are stilled in time, loaded with the past phantoms that infect the present and their future, other spaces have been glorified and constituted as monuments. Her work is about the status of power of places that play their definitions between: utopia, ruin, heterotopia and monument. Her body of work is constituted by two paths that are opposed. First, there are paintings made of large amounts of construction materials, such as concrete and low-quality woods, but also using façade cladding matterials such as ceramics, which explore the large format and the material overflow. On the other hand, she has begun to work with flat images, through digital and manual drawing, which seeks to eliminate the trace of the body, as a mechanical drawing. Fernanda Avendaño was born in Chile in 1993, she studied Bachelor in Fine arts at Universidad Católica de Chile, and made an academic term at Universidad do Porto, in Portugal. In 2017 she won the first place at the Museum of Benjamin Vicuña Mackenna open call and had an honorable mention at the 5th young artist award at the Museum of contemporary art in Chile (Also known as MAC). She has had several solo shows as well as collective, from which we can highlight her solo show “Garden Cities” at MBVM and “Concrete Modernity” at Montecarmelo house of citizenship (Bouth in Santiago, Chile). Internationally she has participated in Uberbau House residency at Sao Paulo and also in shows in Oporto, Portugal (at the FBAUP museum and Prelada Hospital) .
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INÊS DOMINGUES My work is about trace and evidence, what we can see and what we think we see. I use photography to build labyrinths of reality and fiction in a rediscovery of the photographic image in opposition to it’s ephemeral nature.
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LAIA ARNAIN Destroying the image with chemicals to create a whole new world. Arte Disuelto is composed by several illustrations with an unique technique: the application of solvents and other chemicals on printed images with dry brushes and various natural elements such as branches and leaves. This way I create a new world in another dimension. Photos printed in satin paper, various brushes and a solvent can are the base of Arte Disuelto, a project I started in 2015, after practicing this method I discovered while playing with chemicals on magazines.
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LORAINE LYNN What does it mean to evade the act of identification and is it even possible? I breach boundaries and pull from different disciplines to explore concepts and interrogate existing social structures, examining their histories in order to produce critical commentary within my work. Embracing change as the only constant in production acts as a driving force within my artistic practice. I use materials and methods that are fluid, such as glass, video, fiber, and installation as means to explore issues of labor, social structures, identity, and the scripts that all of these follow. Breaking these scripts in order to challenge and redefine existing ideas, as well as produce new ways of thinking is the main objective within my work. This is achieved through the recontextualization of objects, actions, and materials through acts of repetition. Theories of performativity suggest that gestures aid in the assignment of identity. By rendering these actions unrecognizable through repetition the typical scripts are broken. This act of subversion allows for a particular question to be posed: What does it mean to be unnameable?
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MAJD ALLOUSH
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Majd Alloush (b. 1996) is a Syrian Artist working with print-making, moving image, photography and installation to radically re-think his outlook on various subjects of his concern. His style of documentation through art complements his vision towards the subjects he adopts; politics, self-exploration and psychology are some of the few topics that drive his art-force. By taking over more areas of troubled subjects, Alloush aims to continue exploring the policies of the mind through his art. The human psyche against nature - politics against conscience - time against space, these are some of the contradictions that Alloush sees as central to human existence and deserve to be encompassed as social theories and documented through art. By placing his viewer on a perplexing track, Alloush intends to strategically create work in which his vision begins throughout the piece, and ends in a similar manner: an ironic narrative in correspondence to the real world.
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MARYAMSADAT AMIRVAGHEFI Maryamsadat Amirvaghefi was born in Tehran, Iran in 1989. Amiravghefi works are the mixed media medium of painting, video art, and sculpture pieces. Amirvaghefi completed her MFA at the University of Arkansas School of Art, Fayetteville, Arkansas. She completed her BFA at the Sooreh University, Tehran, Iran in 2013. She is currently Instructor at the University of Arkansas School of Art. She has had group shows in Tehran and USA. She curated 2 shows from Iranian and American young artist in Tehran. Iran and Fayetteville. USA. Her works have been published in Studio visit magazine and Average Art Magazine. He lives and works in Fayetteville, Arkansas.
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I was warming up I had been waiting four years for these games It was important to me Everyone knew I was the best Iranian Gymnast My body was completely covered I wanted to return to Iran after that game It was too tight; they could see all of my bones I covered my body with a big flag until the final moment I heard my name announced from the speakers MARYAMSADAT AMIRVAGHEFI, from Iran I arrived at the floor I somersaulted There was no applause Everyone seemed shocked with my perfect form I was running and jumping I looked like a butterfly Everyone started to cheer for me They showered me with flowers Without a doubt, I deserved the gold medal When my feet touched the ground, I bowed The cheering voices disappeared slowly For about 5 minutes, it was pitch black Suddenly they turned on the lights They called my name again I was shocked I kept performing when the lights went out Did anyone see my performance? Whether it’s spending countless hours in the studio without visitors or presenting an exhibition and hoping that it’s attended by the public, “Did anyone see my performance”, is a statement that many artists ponder. In many ways, aspects of being an artist parallels the life of athletes. Both will often train in solidarity for a public performance(s) that are judged or evaluated by others, whether critic or layman. Whether intentional or not, this leads to scenarios where someone is determined successful (i.e. a winner) or unsuccessful (i.e. loser). As our society becomes more global, there has been a shift in the ways in which individuals obtain information or participate in events. No longer is someone limited by geographic location, as there are no technological advances that allow both national or international connectivity. Whether an American wants to watch a soccer match in the United Kingdom or view images from the most recent Venice Biennial, it is possible through and monitors. However, this luxury is not without drawbacks. These screens present material that has been filtered and edited. This means that everything receive via the sources can, and should, be seen as ‘second hand information’. Much like theory of ‘wag the dog’, this kind of dissemination of cultural information makes me question who is really ‘winning’ and ‘losing’.To me, Art is game while I wish there was not winners or losers, it is clear that within the art-world there are people who are deemed successful (winners) and unsuccessful (losers). There are a number of variables, some legitimate and other spurious, which determine the trajectory of a contemporary artist. Politics, gender, social standing, and ethnic background all play a large part in the evaluation of an artist’s work while other aspects go overlooked. I cannot help but feel that certain groups of artists are automatically categorized based on the aforementioned classifications. As a female artist that was born in Iran, a predominately-Muslim country known for violent dictators and discriminatory views towards women, I am forced to acknowledge my relationship to masculinity and the perception of individuals around the world. I wonder if it is possible for me to ‘win’; whether in life or the art-world. In trying to reconcile my situation, I have determined that sports, more specifically sports related imagery, are legitimate vehicles for exploring notions of ethnicity, gender, and politics By putting myself at the center of the work and by focusing on the autobiographical, I am able to consider the political and personal views surrounding a young Muslim woman who lives with constant uncertainty in the United States.I have arrived at a place where I now ask the following question: If I were to win (become successful), does the game end and will I have incentive to continue?
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NIKOLAOS MANTZIARIS Through my art I try comment mainly on social issues. Each one of my pieces is very specific and has an accurate meaning and explanation/message. I believe you can like something that looks beautiful but you can only love something that means something deeper to you and emotionally touches you. That’s when the artist and the viewer walked the same thought paths. Concerning how I make my art and my materials, I believe that each technique and each material have a right place and a right time and it’s up to each artists taste to use them properly. Materials are the artist’s bridges to let his thoughts out Human Trafficking
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RALPH KLEWITZ The topics of my artistic practice and research in fine arts raise cultural, ethical and political questions and I negotiated those in various geographical contexts with meaningful and meaningless; intangible and tangible contents.
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SABINA ZENTEK Based in Berlin, Germany, Sabina Zentek is a fine artist and graphic designer with an insatiable curiosity to explore the mysteries of life and science. Her work has been published worldwide in various art- and design books and scientific publications. She corporates with numerous sustainable institutions like the IASS (Institute for Advanced Sustainability Studies) and Seed – promoting entrepreneurship for sustainable development.
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SARA VIEIRA My artwork is the result of a continuous search and reflection on the parallels between the present-past-future; an introspection between multiple exterior universes (landscape, human beings and other life forms) as well as inner universes (memories, thoughts and intentions). The introspective need dictates a state that allows the manifestation of gesture that will dictate the poetics of the work and its concretisation. Temporality, rhythm and movement arises not only as concepts but also as symbols and influences that build and compose the dynamic and visual narrative. the sense of unity and belonging between multiple temporalities or their negation / absence are visual manifestations revealed in the singularity of the drawing.Contemplative and introspective action characterises not only my work but also personifies my being; this nature of observer are revealed as a methodology inherent in my artistic practice, as well as a quality of my existence. I consider my whole cosmos a source of unceasing inspiration, which has made possible and encouraged the construction of all my artistic work.
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CONCHA
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PROGRAMMING BOOK OF A GOAL ACHIEVEMENT
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STACY LOVEJOY Stacy Lovejoy is a multimedia artist based in Portland, OR, who was born and raised by a family of gracious parents. She has always painted, glued, cut everything on her way, and done things that others would never have come up with. Her first exhibition in 2008 and was organized in a desk drawer. The pieces were microsculptures made of used chewing gum. She revealed the objects to everyone, evoking from the viewers a strong interest in her creative personality and art. Stacy Lovejoy is mixing the genres incessantly. Her practice includes a wide variety of disciplines ranging from painting and sculpture to installation, performance, and writing. She expresses herself using different media such as clay, resin, plastic, wood, sharp words, metal, fabric, as well as found objects. Lovejoy’s artwork has been presented at solo shows and numerous group exhibitions at venues including: JanKossen Contemporary – New York, NY | CICA Museum – Gimpo-Si, South Korea | Lesher Center for The Arts – Walnut Creek, CA | Austria Biennale – Viena, Austria | Flat Color Gallery - Seattle, WA | ART4 Museum – Russia, Moscow | Basic Space Gallery - Portland, OR Her main goal is to awaken people, tickle their mind, and say: “Hey guys! This world is too simple to be taken so seriously!” I wish for people to realize that being an adult is the same as being a child, but with far more benefits. As an adult, you belong to yourself and the most important thing is that you have a choice! It means you can have as much candy as you wish, even in place of dinner! And you can wear your clothes inside out, crawl the whole day instead of walking, and climb a tree with a candelabra on your head. In the “Transmigration” series I explore common situations after global scale reincarnation, during which all the people came back to Earth as plants. “Super Power Tools” is comprised of 17 sculptures. The objects are a part of “The Radiant Thread” series that tells the story of my engrossing journey to subconscious with the purpose of finding my mission on Earth. The artworks symbolize the points and discoveries that brought me closer to a core understanding
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RIEKO TSUJI Born in 1991 in Tokyo, she received her BFA from photography and contemporary art course of Kyoto University of Art and Design in Japan. She also studied video and sound art at Zurich university of Arts in Switzerland through an exchange program. Since she has frequently travelled abroad these recent years, she is researching the misunderstandings due to cultural diferences and communication through socialmedia and video calls between people who live far apart from one another. Her artwork is mostly based on non-famous narratives like her personal experience and she tries to make them sharable with audience. She often uses material which does not remain as a form such as sounds, smell, temporary sculpture and performance to represent ephemerality which she has dealt with as her life-work theme. She currently studies at Bauhaus University Weimar as an exchange student and belongto the Global Art Practice MFA program, at Tokyo University of the Arts.
Fictionality 2017 Installation
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JONATHAN IRAWAN
Jonathan Irawan is a multidisciplinary designer from Australia who specialises in the union between art and technology. His Architectural studies and training equipped him with computational design tools and skills that enable to tackle projects in a variety of scales and applications, ranging from biological experiments, architecture, interactive installations to graphic design. He is currently the resident computational designer for HASSELL Studios in London and acting Creative Director for Barcelona based Pulpo Collective. He has designed and put together this magazine issue for Al-Tiba9.
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