NNC MAGAZINE JAN 2021

art magazine

january 2021

Dream map from the black dream maps series acrylic pen on black paper, A4, 2018 Radmila Uroševic

EDITOR’s...

Our fourth year of project begins with this number.

I am very proud of this result.

Let’s start with a new format: We want more space for our artists, more space for those who participate in our selections.

Images will still be at the center of our newspaper because art communicates beyond words.

The secret room restarts this year with many virtual exhibitions with our collective artists.

A project of electronic art and music.

We imagined a virtual world where the artworks can be enjoyed from all over the world: in our VWorld project, all the real cities exist and we will visit them by building our galleries.

We are also preparing our “artist books” which will involve all the candidates of these previous 3 years.

We start this new year with all the strength we have accumulated over the years to give real support to our artists.

England left Europe: we stayed there!

Enjoy January issue.

Valentine

NO NAME COLLECTIVE MAGAZINE - ART MAGAZINE © 2027 by No Name Collective Gallery LONDON Registered office: W7 2J UK V London UK Non-profit cultural Art Project VWorld Art Project Leaf Group Commerce All rights reserved.

Virtual Gallery V Amsterdam V Gallery art project From September 2019 : Business EU Manager Business NO NAME COLLECTIVE info@nonamecollectivegallery.co.uk

Editor in Chief Victoria Pagesour

Pubblished by No Name Collective Gallery London (Issuu - Calaméo - peecho.com)

Art Curators Celine Flamboyant Valentine H.Hyman Special Guest Curator Vanessa Rusci Advertising Enquiries info@nonamecollectivegallery.co.uk

COVER BY Monica de Mitri collective 18 here: Dream Map 1, from the dream maps series, felt pen on paper, A4, 2017.

Radmila Uroševic Collective 18

No Name Collective Magazine Mission Statement A challenge for artists.

Each month we select artists who will participate in the grand final of December 2021.

Among the finalists, the artists who will be part of our next Collective will be selected.

The winners will have space on our website, in our magazine and in our events.

In each issue an interview with one of our artists and the selected of the month.

We also dedicate a space to a special guest and artist of the month.

At the bottom you will find the artists of our Collectives currently represented.

Enjoy the reading!

We are looking for talent: candidates for the Challenge on our site.

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

interview Collective 18

Radmila Uroševic

Tell us about your artistic work: why do you do it, what do you want to express, if you have a precise style and a specific technique or change them in every project.

Red Territory at Stephane’s place, acrylic, diam 95 cm, 2017. Model Stephane Tergiman, photo Zarahyt Rojas.

Making artworks is something that I love. I started very early to practice drawing, painting and every kind of manual work.

I assume it is something natural to me. It is a part of me that shows how I feel about the world in general. It involves a lot of freedom but also a lot of work and thinking. I use a specific technique to produce my artworks, the technique is something that matters to me. I believe that everything comes from the material, the media you use. That the media reveals the idea and the shape of the work.

The material actually creates the idea.

That’s why I started creating my own material, based on acrylic paint which I turn into solid paint modules. I talk about my modules as paintings because that is what they are.

I also wanted to free painting from the canvas, following the tradition of Supports/Surfaces and BMPT. Making my own media is actually a very emancipating approach. To me art is not separated from the real world, and the artwork is just a piece of our passage on earth, it is leaving a trace of us. Besides, making modular art works involves a moving painting, a nomad painting that is alterable and constantly processing. It is a way to deflect our world and our way of life. There is also something that deflects process, evolution, transformation and allows the viewer to act on the artwork.

A removable and adjustable artwork creates an evoluting and different point of view on the work but also a different work itself.

My artistic work is also a way to connect with poeple and space, which is my main obsession. I believe that space and time have an influence on the perception we have on an artwork, but also an influence on the work itself.

Creating an adaptable and malleable work, using a modular system, shows my thoughts about the artwork. I don’t change my technique or style in every project. I would rather say that I develop my technique through repeating a process and a production mode. I also practice drawing, using dots as a leitmotiv. A repetition process is not a simple copy of a pattern, it is a way to develop it and find new ideas and new goals through practicing the material or the pattern.

Dream Map 1, from the dream maps series, felt pen on paper, A4, 2017.

Sticker dots map, from the sticker dots maps series, stickers on paper, A3, 2015.

Within which mood of art you place your artwork (if there is a specific one)?

Territory, white and blue kit acrylic modules variable dimensions Nice, at Corentin’s place France 2015 I would say my work is a part of contemporary abstract paintings.

Could you tell us something about the art in your country?

Is there an active artistic community? Are you part of it?

I live in Paris, France. There are a lot of active artistic communities.

I am not really a part of a community, but currently I do work on collaborative projects with other artists. I am more a part of the artistic researchers’ community since I am doing research myself. From time to time I used to perform live drawing with some artists who created the Association Les soirées dessinées.

They are still performing in many places. www.lessoireesdessinees.com

What’s a typical day in Radmila Urošević’s life?

There is not really a typical day in my life. Most of the time I wake up early, I cannot live without my morning cup of coffee. I go to work, but not my artistic work, my other work which is teaching. When I come back I appreciate reading and then I start my artistic work, which is split over several days and weeks as I can’t do it all day long every day.

The only typical thing in my day is my morning coffee. I also write for my thesis which is related to my artwork. I would say a typical week is very busy to me because it is divided between making art, teaching and writing. But in a day I can’t tell that all my activities are really predictable.

Traveling for art, for example for personal exhibitions or for other art exhibitions you want to see?

Do you like to see others’ art?

Of course I love traveling for art but not only for art. I love visiting exhibitions and museums but I also love meeting other cultures. I actually made my works travel through the kit series I have done. I was curious to see what people would do with my modules in different countries. Yes I do like to see others’ art. That brings new ideas, inspiration and also helps me thinking.

Where are your favorite places I don’t really have favorite places to find inspiration for my work. I or themes where you can find usually go for a walk and stop when I feel like stopping. I like inspiration for your work? watching buildings and architecture, I need to feel the space around me.

Otherwise I love to sit in a cafe, drink coffee and watch people walking, running after the bus, talking and basically living. That is what inspires me the most. But I also get inspired by reading, mainly philosophy essays and watching other people’s works through the web or exhibitions.

Have you studied art or are you self-taught?

I have studied art and I am currently doing a PHD in visual arts at the University of Paris 1 Pantheon-Sorbonne. The title of my thesis is Painting: the surface as an interface. From the support of the painting to its place of exhibition. I believe that even after completing my PHD I will never stop studying art. As far as I’m concerned art is a matter of eternal studies.

Do you remember the first artistic work you did?

To be honest I really don’t remember my first artistic work. I have practiced all kind of artistic subjects and medias over the years and I started producing paintings and other works since I’m a child. But I remember my first real exhibition in 2008. It was small but rewarding to me.

What do you think about social I am happy to have an opportunity to share and spread my artworks through networks and the web about art the web. I believe social networks and the web are good ways for an artand artists? ist to be seen by other people. It is also an easy way to see others’ works.

This is a great and free media to share art reproductions.

However a picture on the web cannot replace a real artwork, especially regarding painting and sculpture. Because a picture can’t totally show the material of the work. It remains a reproduction. An exception can be made for digital art which fits perfectly in a screen. That is why it is still important to go to exhibitions and to exhibit in actual spaces regardless to the type of work.

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

The idea of my project came from the practice of painting. Working on canvas wasn’t satisfying to me.

I started exploring other supports and working with mixed media, but I believed there was more to find in paint itself. I remembered my own experiences about that kind of practice, since I used to paint on plastic bags and take off that material from the bags. But at the time I was making less malleable materials, it was almost like a paint crust. I also remembered a student when I was in prep school who took of dry paint from plastic bags turning it into a kind of skin, but who didn’t really exploit this thing and didn’t shape it. That’s how I started to develop this technique which I decided to make malleable, adjustable, removable and recyclable.

There was something unsatisfactory to me in a simple canvas, something that was not compatible with my life and the space around me. I started reducing this material into modules that can be split or grouped to make an artwork. Therefore making modules appeared like the only way to adapt my work to different spaces. Inspired by architecture and design, I decided to create transformable paintings. I also practiced contemporary dance at University, which brought me a lot of thoughts about space. I use mostly rounds to produce my modules.

It is a shape that refers to the Turco-Mongolian nomads and their houses the Yurt, which doesn’t mean a “tent” but the territory of a group. As I was making nomad paintings, that shape seemed natural to me; not only related to the transport You have organized exhibitions in the past.

How does it feel to involve others in your art?

abilities of my work (every painting is transportable unless it is in situ); but the transformable and variable shape of the work itself. The nomads are travelling with their house and they carry their own territory with them, but they also interact with the place they decide to occupy. Their territory, their group is influenced by the world around, mainly nature. That is what I am trying to do with my paintings, to get even more interaction with the environment around us. I started working at people places to experience that interaction, creating a sort of home-art. And I developed a kit series that people could modify and stick wherever they want in their daily space. It was also a way to introduce painting differently and bring to painting the ability to adapt to small spaces by releasing it from canvas and walls. Why not put your painting on the furniture or floor? That is done in museums, in exhibitions’ scenography but usually not at home. Collaborating with the viewer who becomes a contributor to the project and the art work is something that is important to me. Currently I am collaborating on a project at Villa Savoye (by the architect Le Corbusier), with two artists and researchers: Béatrice Martin and Stephanie Kamidian, links to the project: www.lesechosdelapensee.com/le-projet-villa-savoye, www.lesechosdelapensee.com.

I also have a project with the designer Ingrid Shirine Hobaya. https://www.instagram.com/urosevic_radmila/

It is a pleasure to involve others in my art. It is actually what I like the most. Not only showing and exhibiting but through my kit project I really want people to take a part in the artwork, by conceiving their own composition.

What is your favorite artwork?

I don’t really have a favorite artwork, but I do really love Xavier Escribà’s works. This one in particular is meaningful to me Les yeux de Paul Klee – 39 ans If you could show off your artwork anywhere in the world, where would you choose?

Well… Anywhere really. However I admit that I would love to show off my artwork in Belgrade, Serbia, my city of birth.

Yellow and black kit variation, Lysianne, Pisa, Italy, from the kit series, acrylic, variable dimensions 2015. 5

Red Territory at La Passerelle, gallery, UPMC (University Pierre and Marie Curie), Paris, acrylic, diam 95 cm, 2017

Are you reading a book at the moment?

There is one book you have on your reading list?

At the moment I am reading again Martin Heidegger The Question Concerning Technology and Other Essays. This book is very inspiring to me concerning my works but also my thesis which is basically an explanation of my art approach. On my reading list I am planning to read the number 05, june 2006, of the art research revue Marges. It deals with the exhibition subject and its practices.

Again that is inspiring for my artistic work and for my writings.

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

Well, I really like Xavier Escribà’s work, which puts painting out of the canvas and is really close to my conception of painting. The approach of Miguel Angel Molina is also interesting to me, and I really like the dots of Yayoi Kusama. Anish Kapoor is also one of the artists that I admire.

And an artist who is not famous but who you like and whose artistic research do you share?

Of course I am very happy and proud to be a part of the No Name Collective adventure. I trust you, that is a fact otherwise I won’t be participating to the project.

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 think it is a great opportunity for artists and a great idea. The small fee in the beginning is a sort of crowdfunding and it is fair considering the magazine printed numbers and all of the work you do for us. I thank you for this opportunity to show my art and talk about my work.

Interface, modules in progress, acrylic and chinaink graphics, variable dimensions, 2018

Yellow and black kit, Lysianne, Pisa, Italy, from the kits series, acrylic, variable dimensions, 2015

Yellow and black kit variation, Lysianne, Pisa, Italy, from the kit series, acrylic, variable dimensions 2015. 3

Red modules on the drying rope, Belgrade, Serbia, acrylic varied dimensions,2016.

Yellow and black kit variation, Lysianne, Pisa, Italy, from the kit series, acrylic, variable dimensions 2015. https://radmilaurosevic.wixsite.com/visualartist https://www.facebook.com/urosevicradmila/ https://www.instagram.com/urosevic_radmila/ https://www.linkedin.com/in/radmilaurosevicarteducation/

A b o u t She creates solid paint modules which are ajustable in space. She believes that art work is changing all the time with the space around.

Her statement is that it isn’t independant of the place of exhibition. Her system is also a way to show the differences of poeple’s point of view on the artwork and the world, depending on where they are. The modular system is a way to think about mapping the world differently.

In her opinion, it is both a way to reflect the world we are living in but somehow to find a way to deflect it.

Currently PHD student, University of Paris 1 Panthéon-Sorbonne Thesis : Painting : The surface as an interface. From the support of the painting to its place of exhibition.

Peinture: La surface comme interface.

D u support de la peinture à son lieu d’exposition.

Under the direction of Mrs Sandrine Morsillo.

Visual Artist Born in Belgrade, Serbia Lives & works in Paris, France

short list january 2021

Due to the incredible quality of the artworks received this month, the jury selected six artists from the many of the January selection

KICKI EDGREN Sweden

Kicki Edgren, born 1972, based in Gothenburg, Sweden, has always painted, drawn and written as long as she can remember. Ever since her first art exhibition at the age of 15 she has had about 25 solo exhibitions in Sweden, and recently her paintings has been exhibited in Galleries in Europe - Monaco, Spain and Italy and soon in Canada. Kicki Edgren has attended several art educations, including a master’s degree from HDKValand - Academy of Art and Design.

Work titles: Artist, designer, illustrator, brand manager.

Current occupation at the University of Gotheburg.

ART EXHIBITIONS 2020-2021 Galleri Engleson, Gothenburg, Sweden, 8 February – 13 February 2020 Monaco art fair, Van Gogh Art Gallery, 21 Aug – 24 August 2020 Good Morning Hotel,, Helsingborg, Sweden, 17 July – 14 August 2020 Van Gogh Art Gallery, Madrid, Spain, 27 November – 27 December 2020 Gallery CAEL, Milan, Italy, 9 December – 24 December 2020 Lund, Sweden, Scandic Star, 23 January – 21 February 2020 Art & Space Design Galleries, Calgary, Canada, February 2021 – onward Art Gallery, Teaterhotellet, Malmö, 26 Mars – 23 April 2021 Galleri Engleson, Gothenburg, Sweden, 5 June – 10 June 2021 In addition to Kicki Edgren’s artistry, she is also a multi-prized designer for her graphic design, pattern design and product design. Her creative soul is distinguished not least by her 3 -dimensional wallpaper Off the Wall that was exhibited in many places, including the design museum in Barcelona, at the same time as her self-written book was published in Sweden.

WEBPAGE DESIGN PROTFOLIO kicki edgrens portfolio (In Swedish) LINKS TO KICKI’S ART OFFICIAL WEBPAGE: Artonline.se OTHER WEBPAGES SHOWING HER ART: artportable.com

PRIZES AND AWARDS: Publishingpriset, nominated 2018 Swedesh Design Award, nominated, 2015 Formex Formidable, nominated 2010 Göteborgs konstförening, scholarship 2009 hlens Design Award, winner 2008 Formica Impress Design Award, 2:nd prize, 2008 Rusta/Svensk form design award, 3:rd prize, 2008

nordicartwall konst.se INSTAGRAM: @artonline.se FACEBOOK: Art Online

Elena Pizzato, aka

Ketra Italy

THE HALL OF MIRRORS I explored the phenomenon of fetishism and the "magical" power of the fetish, of how a simple object can have such an attractive force on us, as if it had a life of its own. A section of the body, a small detail of an inanimate "thing", a garment or a certain material and fabric. Its seductive power is magnetic, it is endowed with that inorganic sex appeal that arouses in us strong sensations and memories that touch intimacy. In my works, from rubber to fur to leather, the focus is on the material and in its dialogue with the other details of the composition, it is a fundamental phase in order to evoke this seductive and at times perturbing power.

In the project “La Sala degli Specchi” the chosen fetish is the mirror, whether it is made of fur, damask or studded, it becomes a sort of warmhole that projects you into other lives, stolen from fairy tales and reality. I go in search of antique mirrors and mirrors, because they themselves already represent objects-fetishes that contain multiple life stories, they have reflected who knows how many faces and situations in history that we will never be able to know and this is their charm.

To the pages of these mysterious "books" I just sew stories of murderers, family tales, black fairy tales.

In particular, the three works in attachment reflect the lives of three women, two really existed, and one of them belongs to the collective imagination, all symbols of power and female domination.

• WANDA VON DUNAJEW (“Venus in Fur", 1870) • CATHERYN DESHAYES, France 1675 • LIZZIE BORDEN, 1860, Fall River, Massachusetts, USA www.ketra.it instagram: Elena Ketra

Elena Pizzato, aka Ketra, was born in Bassano del Grappa (VI) in 1979.

Graduated from the Academy of Fine Arts in Venice with honors, she develops her research on the body and artificial modifications,experimenting with multiple materials and media. Later, during an artistic residency in the Netherlands, he explores the themes of fetish and inorganic aesthetics, inspired by Mario Perniola’s treatise “The Sex appeal of the inorganic”.

Ranging from extroflection to sculpture to installation and video, Ketra uncovers an underworld populated by dolls stripped of their reassuring crinolines and covered in latex, mirrors that allude to unspeakable secrets rather than Snow White’s stepmother, brass knuckles transformed into rocking chairs, corsets imprisoned in pvc squares and studs, crochet pot holders made by the 93-year-old grandmother with transgressive writings.

Dark fairy tale and contemporary reality intertwine with irony, revealing the feminine and esoteric imprint of Ketra and her punk taste for provocation.

AWARDS 2020 Finalista Exibart Prize, by Exibart, Roma 2019 Finalista premio “Artddicted”, Paratissima, Torino 2018 Winner N.I.C.E. Prize, Paratissima, Milano 2018 Menzione speciale Vernice Art Prize, sez. Installazione, BUNKER C4, Caldogno (VI) 2016 Menzione speciale Premio Internazionale Combat, sez. Scultura/Installazione, Livorno 2015 Finalista Premio Internazionale Combat, sez. Scultura/Installazione, Livorno 2015 Finalista WeFetish - International Fetish Photography Awards for Fetish Pride Italy, Roma 2014 Seconda al premio RezarteTricolore, sez. Scultura, Galleria RezArte Contemporanea, (RE) 2014 Finalista premio Mantegna Cercasi (MN), sez. fotografia, Mantova SOLO SHOWS 2018 La Favola di Ketra, a cura di M. Vanzan, Palazzina storica, Peschiera del Garda (VR) 2017 Corset Philosophy, a cura di M. Vanzan, Area K – Con/temporary gallery (TV) / Art against violence, a cura di ArtwayChannel e Startup Grind Veneto, w/TVBallet KlediDance Treviso, Broke Clothing (TV) / Ketra, a cura di ArtwayChannel e Boris Brollo, GAA Foundation - Palazzo Mora (VE) 2015 Il Sex Appeal dell’Inorganico, a cura di B.Brollo, Flue Gallery, Portogruaro (VE) / Incursioni domestiche, a cura di B. Codogno, 03 Gallery Amsterdam Cafè, Padova 2010 Inhalatex, a cura di Ortobotanix gallery, Cittadella (PD) 2009 Ketra, a cura di Artway Gallery (TV) 2007 Skinky, a cura di C. Zanotto e S. Arata, Red Stamp Art Gallery, Amsterdam (NL) 2004 Versus, Galerie G&C, a cura di Dido Fontana, Carouge (Ginevra) FAIRS 2019 Paratissima, Torino 2018 Paratissima, Torino 2007 KunStart 07, Bolzano COLLECTIONS Simone Esse Art Collection, Pavia Omnia Munda Mundis Pink, scultura contro i femminicidi al Comune di Riese Pio X (TV) Scarlet Diva, Museo Space Mazzini (VE) PUBLICATIONS / PUBBLICAZIONI CAM n.56, Catalogo Arte Mondadori 2020-2021 su selezione critica

Giovanna De Paris Italy

Instagram gio_deparis_art Facebook GiodeParis Art Sito web www.giodeparis.com

She lives in Florence, where he attended classical high school and graduated in law. She later assumed ownership of a Corporate Communication company and became a Journalist.

Due to a series of personal events, she decides to make a change in her life in 2016. She quits her job, to devote herself only to painting, a passion she had manifested since she was little. Thus, the interests for art in general, derived from the historical mother of art, re-emerge, in particular for classical sculpture. He attended courses in painting techniques and quadraturism at the Porta Romana Art Institute in Florence.

Exhibition: 2018 ROYAL OPERA GALLERY (Pall Mall) London 2018 ARTOUR-O Malta exhibition 2018 ARTOUR-O Firenze 2018 - 2019 Matera 2019 2019 Palazzo Ducale Genova 2021 ‘Light for the Future’ published in CORART MAGAZINE and CORRIEREDELL’ARTE.it 2021 selected by ART NOW to compete for the Artist of the Year Award Artexpo Palermo creativity

PROJECT The contents of the works, extremely contemporary, have a continuous reference to classicism that implies the desire to give shape to the disarming and disorienting chaos in which we find ourselves living. It is not a return to order, but a return to the body, to its proportions, to the harmony of its beauty, and to the most secluded and most absorbed thought. There is often a reference to the Myth, but also to the inner sensations and the desire for a greater awareness of man with respect to some fundamental values. In particular, the affirmation of a balance that mitigates personal and social conflicts, greater sensitivity to the environment and to animals. These are the themes that are the background to the canvases with very often surrealist or metaphysical hints.

In the portraits, the reference is to the plasticity of the statuary in t he bidimension of the painting through the representation of opaque eyes, which refer to the cavity of those missing in the ancient marbles: there, deep inside, as if they were a mirror, there is space for each of our .

The love for 70s rock music acts as a ‘soundtrack’ in some works with explicit references.

The technique used is mixed, on canvas. Materials are water tempera, stucco, earth. In some works the statues are made of EXP material, cut with a hot blade, sanded, treated and painted with entirely manual work.

Artworks 1 The Timekeeper 2 Alter Ego 120x100 tempera e stucco 3 Fuga dal Louvre 150x100 tempera

Debbie Korbel usa

www.debbiekorbel.com/ www.instagram.com/debbiekorbel/ www.facebook.com/Debbiegordonkorbel

Debbie Korbel is an award-winning sculptor whose work has been exhibited and collected internationally. She is thrilled to include Steven Tyler, of Aerosmith, as one of her collectors.

Her work has been featured in several major magazines and newspapers including Beautiful Bizarre Magazine, Western Art & Architecture, and American Art Collector. She has also had her art featured on banners in Times Square. Her most recent solo exhibition in 2020 was held at The Museum of Art & History, Lancaster. Additionally, she has written comedy scripts for television and is currently partnered in a songwriting team, PD Songwriting, which has a channel on YouTube.

Project for No Name Collective Gallery Everyone knows what it is like to lie on their back and “see” images in the clouds. When I was a child, I would see images not only in the clouds but in many circumstances.

The random patterns of linoleum flooring, plaster ceilings or even the way shadows fell across a wall would suggest figures or landscapes to me. As an adult, I approach my sculpture materials the same way by standing back and looking for what I “see” emerge.

I strive to create sculpture that I have not seen before—something sexy, wild, passionate and unexpected. I create my assemblage sculptures by using my original sculpted elements and combing them with an assortment of objects I have collected. Often the initial impetus for the sculpture occurs when I find some interesting fragment of metal or wood. Then an idea takes root and evolves from that “catalyst” piece. Every sculpture is like a puzzle for which I find and fit each seemingly unrelated piece together in its most expressive form in order to create something new.

ROMERO PASIN Argentina

Instagram : @la_nanushka / @romero_pasin Flickr : https://www.flickr.com/photos/melodramaticam Web : www.romeropasin.com

About me...

I was born in Argentina and grew up in Mexico, Colombia and Switzerland. At the age of fifteen after making my first appearance on a serious stage, I decided to study Performing Arts.

In my twenties I moved to Spain where I produced, directed and wrote several theatre plays. Then joined a big touring circus company where I changed a bit the direction of my career, making and repairing costumes, props and stage decoration.

As a mixed-media artist I cannot say that I’m entirely self-taught, as despite not having a formal education in visual arts, I had the chance to work with talented scenic builders, painters and costume designers who generously shared a lot of their knowledge with me.

Since lockdown and while all my beloved show industry is on standby, I’ve been focusing on my own creations, experimenting with different media and exploring some ideas I’ve been thinking of for a while.

About my work...

I try to capture magic in the ordinary creating surrealist but accessible worlds.

Up-cycling, collaging, analogue photography are my favorite tools.

The evocative power of an old picture, the significance of an old jewel, the magic contained in an expired photographic film… these are the materials I love working with.

I usually start with an idea and then allow myself to get lost in the process. As in an Exquisite Corpse, I like putting together disconnected pieces and let them find a new meaning .

Vesna Bursich italy

Vesna Bursich I was born in Turin, Italy, in 1974.

Graduated in restoration and graduated in painting at the Albertina Academy of Fine Arts in Turin. I’m interested in painting, sculpture, drawing, video art and photography.

Exhibitions.

2018 – Natura. – Spazio a cura di Giacomo Doglio, Rittana (CN) (Italy) 2017 – Pass-ports, visioni straniere a Torino – Galleria Pantarei – Torino (TO) (Italy) 2016 – Helping you see the world differently – Scrigno dell’Arte – Monchiero alto (CN) (Italy) 2016 -Art Karlsruhe – Messe Karlsruhe – Karlsrhue (Germany) 2015 – Il purgatorio – Residenza creativa – Sinio (CN) (Italy) 2014 – Affordable Art Fair – Kurstmesse – Hamburg (Germany) 2014 – Uhr draußen im dunkel – Galerie Isabelle Lesmeister – Regensburg (Germany) 2013 – Irrgang Galerie – Lipsia (Germany) 2013 – Tallantyre Gallery – Northumberland – (UK) 2013 – Collezione permanente – Villa Rescalli Villoresi – Busto Garolfo – Milano Solo Exhibitions 2006 – Centripeta, Centro Espositivo, Alba 2005 – Zooma, Galleria Zooma, Torino 2005 – Finalista premio Arte Mondatori, Palazzo della Permanente, Milano 2005 – ZooArt, Giardini cuneesi, Cuneo 2005 – 163° esposizione d’Arte contemporanea, Promotrice delle Belle Arti, Torino 2005 – Donne, La Giardiniera, Settimo Torinese 2005 – 10° mostra d’Arte contemporanea, Caserma M.Musso, Saluzzo 2003 – Valsus’Art, Galleria Arte e Arte, Bussoleno Publications: 2017 - Fascinace – Hyperralismus Museum Umeni – Olomuk (Czech Republic).

2012/2014 - Neurotrasmitter jurnal - Springer Medizin (Germany).

Project: White noise - words are the virus. by Vesna Bursich. 2020 During the first lockdown in March/April 2020, the WHITE NOISE project was born. At that moment people are forced to stay in the house; myself included. Sociality is limited. This condition exposes people to a bombardment of news, daily, very high. We must be informed, but information always floods us with the same subject: the pandemic. Words are more important. Many, many words pouring into the air and seem to create a huge global buzz, very similar to white noise. Somehow I want to express this enveloping phenomenon. The work WHITE NOISE is formed by words printed on paper. The sheets are the white noise of old televisions; exactly the message I intend to convey. The landing place that brings the concept to concreteness is a representation that is reinforced by a video made with photographs of the work woven and transformed into frames. But there is another aspect of this phenomenon that I think about. The virus reigns over existence. The modalities of its diffusion are communicated obsessively. One of the causes of contagion are droplets emitted into the air when we speak. The words with which we express ourselves move with a medium that is among those with which the virus spreads: the mouth. Then words move like the virus and potentially have the virus in them. Talking can infect. While the virus can be stopped with a mask, the words do not cancel with a tissue barrier on the mouth. The offspring can still circulate with all their contents. From this point of view it does not matter whether the words are good or not, but only if they are the cause of contagion. Without expressing an opinion on the content of words, I reflect on the fact that words move with the same mechanism as a virus and unlike it, do not stop with a mask. Words pass through the filter that defends us. The faces with the mask remain immersed in the flow of the gigantic white noise keeping the letters in front of the mouth to protect themselves. But the composition is disturbed. We thought that nothing could stop us and suddenly, within a few days, all over the planet, Humanity is forced to slow down abruptly its race. This braking system highlights what works badly in contemporary societies. It’s not the first time, but this crisis tells us that the system has malfunctions. In electronics a system error is called “glitch”. A corrupt image is recognized because it is crossed by moving bands that disturb it. The portraits with the mask are the expression of this disorder.

Challenge collective 21

Antinea (Angeliki) Boletsi GREECE

challenge january Paki Paola Bernardi ITALY

Maksim Mishin RUSSIA Savvas Mavidis GREECE

selection Rana Amin EGYPT

Ogunlesi Paul Oyetunde NIGERIA

Virginia Tozzi Italy

Marie Sevila KOREA

Nicola Stradiotto ITALY

Yasmine Abo-Eldahab EGYPT

Glen Josselsohn SOUTH AFRICA

liya Jacob TEL AVIV

Gustavo Ramirez Cruza COLOMBIA

Jaqueline Loyal BRAZIL

Annalisa Lenzi ITALY

Lorenzo Linthout ITALY

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special guest

giulia Spernazza

My work combines the disciplines of painting, sculpture and installation and is centred on the theme of nature, where my aim is to speak of an ephemeral and harmonious world, turning the anthropocentric principles of modern life on their head. I see my work as a meditation on the controversial relationship between man and nature, in an attempt to highlight the precariousness of such an equilibrium and the necessity of reconquering nature’s purity and primacy. The beauty and poetry of such qualities coexist with a sense of perennial fragility and precariousness, a metaphor of the fleeting nature of human existence.

M y works are intended to be seen as bodies subject to the passage of time, which renders all things transitory, and is reinforced through the use of impermanent materials.

The ‘inside Plexiglass’ series involves the creation of microcosms that appear to protect and suspend all they contain, and introduces concepts of stratification while contemplating a process of densification/diminution that aims to achieve an essential form of representation inspired by the natural world, and an interweaving action where nature gradually gains predominance over all man-made c o n s t r u c t i o n s .

In the ‘Art Book’ series I have emphasised the temporal aspect of reading as an experience, with its three fundamental phases: firstly ignorance of the object’s contents, which endows it with a mysterious quality, then the phase of absorption, and finally the conclusion of the process with the internalisation of its meaning. In some cases the Art Books also become symbolic containers of thoughts, in others they are an abstract narrative of nature formed through the use of materials offered by nature itself…

Technically, my work can be described as minimalist, with the balanced application of a limited number of sculptural and pictorial elements. The principle materials that I use are paper, wax, and natural elements.

Website: www.giulia-spernazza.it Social Network IG giulia_spernazza FB Giulia Spernazza

artist of the month

Alba Gasset Sales EXHIBITIONS

2010 / 09 / 01 - 2010 / 11 / 30: Tenderloin Community Artists,Harvest: what have you gathered?

Curated by: Rick Darnell North of Market/Tenderloin Community Benefit District Corporation “8x10 Open Juried Photography” (San Francisco, USA) 2011 / 06 / 11 - 2011 / 06 / 23 Ben Navaee Gallery (Toronto, Canada) 2011 / 08 / 01 - 2011 / 08 / 31 Curtain Shadows 27 August 2011 The G Studios (Boston, USA) 2011 / 10 / 14 - 2011 / 10 / 16 “Coyote’s Attitude” at La Factoría del Color (Boston, USA) 2012 / 02 / 10 - 2012 / 02 / 19 RecluseDarK Solo Exhibition at Inusual Project (Barcelona, SPAIN) 2016/09/09-2016/10/07

CORRIGENDUM DECEMBER 2020 ISSUE - ARTIST DAVID ATOZKI, COLLECTIVE 19 WE PUBLISH THE PAGES DEDICATED TO THE ARTIST WITH THE CORRECT TEXT

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I learned the craft of jeweller in a family workshop, beginning as an apprentice at a very early age. Over time, I became independent and organized my own workshop, from which I try to deepen the relationships established between an ancient craft and a discourse of contemporary content.

My last exhibition was the III Contemporary Goldsmithing & Jewelry Exhibition at Museo Nacional de Artes Decorativas, Madrid.

Eghosa Raymond Akenbor lives in the culturally rich and historically artistic city of Benin, south of Nigeria, where he creates his art, drawing generously from his environment. His works have been published in Average Art Magazine Uk, Wotisart Magazine Uk, Lunch Ticket online magazine USA, Hidden Treasure Art Magazine UK, International Contemporary Art Greece/USA and Pomona Valley Review USA. Eghosa has also had his paintings exhibited at the Dalla Grafica All Africa, Lugano, Switzerland, Spectrum Miami 2014, Show de Bola Brazil 2014, Altered Aesthetics group exhibition USA amongst o t h e r s .

H e teaches creative art in a missionary secondary school.

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Special guest call Each month our curator chooses an artist for the Special Guest session; 3

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ARTIST OF THE MONTH

Our magazine offers its pages to a limited number of artists we want to give accurate visibility to each of them.

If you want to know more about who we have published contact us at info@nonamecollectivegallery.co.uk

Three new exhibitions are coming to The secret Room with the artists of the Collectives you have selected.

Virtual and interactive exhibitions, keep following us on our social networks and find out when and where.

thanks for your time

back cover suzanne lastrina collective 18