OLNY DIGITAL VESION - NOT PRINT - January magazine 2018 NONAMECOLLECTIVE GALLERY LONDON

interview co llective 17 17 q uestio ns 4:

1 Tell us about your artistic work: why do you do it, what do you talk about, if you have a precise style and

a

precise

technique

or

change

them

in

every

project I suppose It ain’t pretty simple to say It quickly or briefly but remember I started when I

was a kid, first I did it in order not to get bored maybe, but then around childhood, I figured out I could create what I need what I like. That way brought me the satisfaction of creation, and now still I try to explore and to find values in efficient manners. So I do not have any specific techniques or materials. I practically follow the ideas then methods and materials come in the quality of my vision, but I always used to challenge with basic and simple ways and materials.

2 Within which mood of art you place your artwork

I actually can’t put them in a specific one so as officially I’m a designer I would say that I see art as a designer. I think contemporary art is where art and design collide and this is so close to the way I use to go.

3

Could

you

tell

us

something about

your

country

about art? Is there an active artistic community? Are you part of it? About art Iran, in my three years experiences that I live here, I would say It’s

just so complicated and I’m not part of any community yet.

4 What's a typical day in Yaxer Brad's life?I do not have any

typical day but what is common in my routine is thinking and exploration that would be mentally or physically.

5

Traveling

for

art,

for

example

for

personal

exhibitions or for other art exhibitions you want to see? Do you love to see the art of others? Yes I do travel

sometimes for art & design events That’s convincing reason for me to travel which I need necessarily to make It. And of course I like the art of others I believe they are fundamentally rolled as sources of evolution which obviously you can see It in 101 Eyementions collections as an essential purpose.

6 Where are your favorite places or themes where you can find inspiration for your work?Where the peace is in my routine

would be the best place or theme for my inspirational explorations.

7 Have you studied art or are you self-taught?I’m kinda self

though artist, but I’ve studied Graphic design, industrial design and furniture design so as an artist I’m design oriented and as a designer vice versa.

8 Do you remember the first artistic work you did?Yes, I

remember precisely, I was seven years old, and I did two black and white unicorns in front of each other head to head horn to horn which shaped my life.

9 What do you think about social networks and the web about art and artists? Could you tell us about your technique?I suppose in past ten years due to revolutionary platforms in web & social

media; art is growing up in different appearances. These platforms give possibilities, opportunities courage and encouragements for every single person to study, to inspire, to work, to present and even sell their creativities. So 101 Eyementions is an example of this process is made in Instagram as a place of virtual space of life. And about technique, I just used design tools integrated into Stories future of Instagram. I think sometimes limitation gives me freedom.

10 Could you talk to us about the idea the project 101eyementions?101 Eyementions is a collection of the project "Made in Instagram" which

started about a year ago after IG introduced “Stories” feature. So I started to share inspiring images I explore in my virtual routine in version of myself. It’s like going everywhere lost in locations times and peoples so l got lots of inspirations then I just didn’t want to leave them raw to share, at the end of the story I would say that is all about how to survive in virtual space. That’s how I tried to make my emotions, interpretations and many other things about my conscious and unconsciousness in limitations & ossibilities of virtuality. Of course, after surviving, there are some souvenirs to reality. https://www.instagram.com/101eyementions/ 11 You have organized exhibitions in the past. How does it feel to involve others in your art?

Well yes, I’ve organized and curated some art and design events, so I suppose individualism is pretty evident between artists then It would be very Important to get involved artists in an art project and keeping their individual aspects too. In 2011 I made an art project called “Momentgraphy“ involved over 250 artist and ordinary people from all around the world for one purpose but with entirely individual aspects of the artists. Then in Made in an Instagram project, I tried to involve many artists in my projects with various techniques, themes, and styles as my canvas but not blank to say how important is not to avoid the others from the past to now.

12 What is your favorite artwork? Oh this is so complicated question, and

It’s like finding Nemo in chaos but I can say “Trottola” by Michele de Lucchi is one of my very favorite piece of intelligent sculpture that show me the creativity, efficiency, and minimalism in form and concept based on ancient and antique material. I truly enjoy seeing how function reacts form and make such mysterious beauty of choreography by this relationship.

13 If you could show off your artworks anywhere in the world, where would you choose?I don’t know actually. It’s up to the

idea or project but about this project I think Instagram is pretty good but If you mean a physical place. I think if there’s a venue at IG office building could be great :D I guess if a person does not know life in IG space probably hard to understand properly what I want to say.

14 Are you reading a book at the moment? There is one book you have on your reading list? Yes currently I’m reading “ Art as

Design by Bruno Munari, and I’ll study on the book “Who's Afraid of Contemporary Art? by Kyung An & Jessica Cerasi

15 is

there

a

famous contemporary

artist

that

you

want to report? And an artist who is not famous but who

you

like

and

whose

artistic

research

do

you

share?Actually I’m not sure who’s exactly famous who ain’t, but I’m interested in Daniel Arsham

portfolio which is inspiring for my studies.

16

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? Living in social

media is based on trust to explore in different manners respect to reality so we should learn how to live in transparency but respectful.

17 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?Generally I’m not against any fee if It

worth It up to the quality of service which is supposed to be essentially reliable.

IG @yaxer.brad IG @101eyementions FB https://www.facebook.com/YaxerBrad LD https://it.linkedin.com/in/yaxer-brad-b4b47371

1 Tell us about your artistic work: why do you do it, what do you talk about, if you have a precise style and

a

precise

technique

or

change

them

in

every

project I do it because I would die if I do not. Creation and the path of an artist are not about a

simple choice, is more like a necessity in life. Being an artist for me is a way of creating a differential comprehension of existence, of creating information though. And my research as an artist and as a theoretician is referred to the mystical event of information birth. But it is a complex problem that needs for its development to integrate various areas of human knowledge. As well science, math, art and philosophy. That is why I try to incorporate them all in complete research from which my artistic imprint emerged. I usually work with a white board as canvas or paper; this represents a conceptual appropriation my labor as a teacher for various years. The artistic work can be considered an information structure, or a discursive proposal that the visual artist states on the world, just like a teacher exhibits a discursive project on board for his class.My painting technique uses permanent markers on the boards or papers, as I see my approach to visual art more like a calligrapher than a painter. The white and black colors palette is a symbol for the binary difference that is in the heart of information theory. By using a simple distinction of colors, I try to create complex compositions.

2 Within which mood of art you place your artwork I do not know, some of my friends are speculating that my artistic style is some differential figurative. But others think, as I also thought once, that my style is abstract conceptualism. By now I think my work is evolving in various directions and will produce different visual conclusions that I will continue developing to the extent that they make me happy and wise.

3 Could

you

tell

us

something about

your

country

about art? Is there an active artistic community? Are you part of it? Mexico is a fascinating place; it is a country of polarity. Here we have both the

richest man on earth and the poorest one. And those differences also arise between any other things, while Mexico City presents interesting artistic proposals and stays avant-garde, the interior lacks in general of any serious artistic research. The figurative art governs over the mind of vast extension of a society that is unable to understand any other languages like abstraction or conceptualism. It is so sad, but I keep on working to show people others artistic alternatives in my hometown. There are also institutions like the organization “Libro de Arenaâ€? whose work has been fantastic in promoting arts and culture in QuerĂŠtaro. I have participated in many of their activities as a lecturer. Most of them are able online in their web site: http://www.librodearena.net/ 4 What's a typical day in Roberto Rosano's life? It depends,

but is more or less like in this order: Coffee, computer or social media, work sketching or painting, meeting with friends to eat together, listening some music and talking, teaching classes for my students, and then back to sketching and painting, studying or writing, then social media and dinning.

5

Traveling

for

art,

for

example

for

personal

exhibitions or for other art exhibitions you want to see? Do you love to see the art of others? Yeah, I really would like

to, especially if I could cost it by organizing some exhibition abroad or generating for me new job opportunities in art.

I love to see others art, that is how we can learn what if being done and what topics are being submitted to research. That is why I appreciate a lot the opportunity of writing a column of visual arts for a local newspaper in my hometown Querétaro. The role of art critique demands you to see a lot of the work of colleagues locally and internationally.

6 Where are your favorite places or themes where you can find inspiration for your work? I find a lot of inspiration in the act of

working itself. But also in reading or imagining how certain things or ideas could be translated into my artistic language. How can I represent a particular set of ideas with structures and patterns? That is what I try to answer in many of my pieces.

7 Have you studied art or are you self-taught? It depends on

what we understand as art. I have always been in search of aesthetics in many of the things I studied.

Somehow my microbiology classes while studying biological engineering were about aesthetics. I found inspiration on biological patterns as much as in computational ones.

8 Do you remember the first artistic work you did? Yes, it

was acquired by my mom and is located in her house. Curiously, I think, on those visual elements of my first works there were already the seeds of the visual conclusions that I was going to reach later in my career.

Structures and patterns were already seen in that work as well as the rather monochromatic palette I use now.

9 What do you think about social networks and the web about art and artists? Could you tell us about your technique? It is as it was before if you have enough money you can buy enough

attention to become famous and to be in art markets. But, as it was before the use of social web media, also now true artists can reach immortality and persistence in time by working hard and by having friends. I see more like a friendship the relation between an emergent artist and gallery or any other institution that supported its art in the first place. That is how I see for example my relation with No Name Collective Gallery; a trust founded a project that believes in the quality of our mutual artistic work.

10 Could you talk to us about «Alegoría del espíritu» "Primero tú estás en la luz, luego la lus está en ti, finalmente la luz y tú son uno solo" Sathya Sai Baba?

“Alegoría del espíritu” was a very conceptual work that I started after reading a book of the indian saint Sathya Sai Baba. On it Sai Baba announced the steps for enlightenment in the path of meditation. First, the searcher reaches a profound connection between joy and peace; light. But this relation is dissolved at the exact moment one stops meditating. But then, if meditation practice is continued and developed, the searcher will be able to reach a state of permanent connection with light. Finally if one becomes capable of understanding the entire secret of existence, light will be us. Undifferentiated state between joy and the being represented by the highest third of the piece. On it I draw a fragment of a cellular automata of order 30, which is a computational program that can create emergent structures by using simple laws. This automata cannot be described or predicted by a mathematical equation; its actualization is its best prediction also. Just like it happens to the universe itself, let us remember that quantum theory has thought us various things about reality. For example that we cannot describe it entirely by using only a scientific approach. Our formulas will always be insufficient, that is why we need to use art and poetry.

Alegoría del espíritu /// Allegory of the spirit Permanent marker on white board 123 x 93 cms. 2016

Image of a cellular automata of order 30

11 You have organized exhibitions in the past. How does it feel to involve others in your art? I love to involve others in my art

because art is not an individual activity. Even though the creational act could be done in solitude, the process or sharing the creation and selling it involves the participation of others collaborators. To organize an exhibition, for example, implies a lot of work, must of the time people at the show does not realize how much work has been invested in the pieces they have in front of them, and how much work of logistics and thinking has been invested in the exhibition itself. It would be impossible to perform an exhibition without the help of curators, museographers, institutions, newspapers, magazines, galleries, etc.… They all together with the artist, the public, and its time, compound the artistic situation. Art is more a situation than an object, is the emergent situation of the integration of all the pieces that compounds and sustains art.

12 What is your favorite artwork? I like Kandinsky´s Composition very

much no. 8. In fact, Kandinsky and I have a dialectic relation, I have worked very hard to be different to him, as in my very beginnings I felt that everything I did was pretty much like a Kandinsky. An important part of an artist path, as well as in the path of any other creator professional, is to propose a difference. To propose something that is conceptually and visually different to those things that influenced and constructed us in the first place. Of my artworks I love two of them that are now part of my collection:

La complejización de la Forma /// The complexation of the Form Permanent marker on white board 120 x 120 cms.

2017

"Draw a Distinction" o "¡Que se haga la luz!" /// "Draw a Distinction" or "Let there be light!"

Acrylic on black board 90 x 60 cms.

2015

13 If you could show off your artworks anywhere in the world, where would you choose? I would like to show it in London

as well as in Scandinavian countries. I feel a closer understanding of art with many artists from there as well as with their societies in general. What I think is more likely that my work would be understood there.

14 Are you reading a book at the moment? There is one book you have on your reading list? As a student of a master in

philosophy, most of my actual readings are related to my thesis topic. That is the philosophical-artistic understanding of information and complex structures. Leibniz is going to be one of the authors whose ideas will be included in my research. As well as George Spencer-Brown and Claude Shannon. On my reading list, apart from academic research, is Gaston Bachelard, a genius whose work I admire the most. Enrique Dussel, for me the most important philosopher alive, and Luis Camnitzer, an art theoretician whose ideas in the art have fed my personal views on the topic.

15 is

there

a

famous contemporary

artist

that

you

want to report? And an artist who is not famous but who

you

like

and

whose

artistic

research

do

you

share? I like a lot Katrin Fridriks work; she is amazing in her use of color and patterns.

https://www.katabox.com/works/ I think my friend Xavier Aguilar is a very interesting artist, whose ideas and opinions I take very serious in the account. https://www.instagram.com/_xavieraguilar/

16

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, a serious

project cannot be found exclusively in the seeking of money because it would be an untruth. Art seeks money but also a lot of others things; money just helps to produce and to eat well while producing art.

Selling art is a way of funding his artistic research for an artist. Only when institutions, like No Name Collective Gallery, in this case, trusts and beliefs in the artist work and the artist also believes in the cause of the great gallery work can be done.

17 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? I consider it a great measure of being

the truth. If we permit that money continues creating and destroying artists. If we permit that art market controls over what we consider art, and get used only to the artist that have the money to pay for attention, we will be losing a lot of masterpieces that born in the hands of middle or low-class artists.

Institutions and galleries must have strategies to support talented artists whose work deserve to be known and share. The contest by which I was selected in the Collective17 was a great example of this.

E-mail: rober_rl99@hotmail.com INSTAGRAM @roberto_rosano_lara FACEBOOK @RobertoRosanoArt

3 selected january 18

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