barbara vandendriessche collective 18 Special Project Metamorfosis/ MORF
EDITOR’s... The month of March brought us a lot of work, new projects and many new artists. The art world has been severely affected by the pandemic but we are optimistic and continue to think about new projects and new challenges. In this issue the interviews of two photographers, artists of the Collectives 18 and 19. Two photographers with very different styles and researches. Enjoy their works and their words that can help emerging artists for their experiences and their advice. This month’s selection is really interesting! Hard work for our judges! See who they have selected and who are the winners of the March Challenge. The secret room exhibition closes on April 18 last days to see the exhibitions of our artists Debora Barnaba - Collective 17 Suzanne Lastrine - Collective 18 Raffaella Stringa - Collective 19.
The two artists selected for Artist of the month and Special guest are very interesting Enjoy reading and continue to support us on our social networks!
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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.
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interview Collective 18
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. My photos are mostly staged and focus on physicality, emotion, or expression. They look for a physical and psychological vulnerability. My sculptures are a study of damage, both in the use of matter and in the expression of emotionality. The broken, the damaged, the unfinished, and the confused are represented in different ways through heads and bodies. Yet there is always a “sparkle” perceptible, sometimes figuratively, sometimes literally.
Within which mood of art, you place your artwork. Contemporary theatrical figurative photography and sculpture. Could you tell us something about the art in your country? Is there an active artistic community? Are you part of it? In Belgium, artists can follow a good education in several Schools of arts throughout the country. After your studies, you can also try to apply for a grant. But of course, a lot of artists try and not many get one. But if you have questions about the financial or practical side of the job there are ‘steunpunten’, organized by the government, for instance, Kunstenpunt
( h t t p s : / / w w w. k u n s t e n . b e ) . They are a sort of information center where you can ask for help, look for jobs, research groups, contests, or residencies. I live in Brussels, a city with a lot of museums, galleries, and opportunities for artists, but as for every artist, it is difficult to find your own way in that cluster of private initiatives and small organizations. For 20 years I worked in the theatre as a stage director. The world of theatre is much more organized because you have the theatre houses, the theatre companies, the actors guild. Visual artists are much more thrown back on themselves. Since I decided to put my theatre career aside and follow my guts and work as a sculptor and photographer, I had the luck to be noticed rather quickly. But I do spend a lot of time promoting myself through social media, making contact with galleries and curators. Without that kind of ‘promotional work’ I wouldn’t have had the few opportunities that I had the last 2,5 years. What’s a typical day in Barbara life? I do still teach at a theatre school, 4 hours a week. Or I have a theatre project with the students.
next images from Melancholy project
So, quite often, I still have half a day that I spend in a theatre. I constantly work on my mood boards or inspiration boards. That’s something I do daily. I look at other artists’ work, I read articles, read books, look at social media. At the same time, I try to promote my work. In the afternoon you can find me very often in the atelier in Anderlecht (Brussels) where we work with many sculptors together and 2 coaches. The photography projects I have to plan more precisely: location, model, props. That is not daily (but always on my mind). Once the shoot is over, I spend quite some time post-processing. Sometimes I have to leave the pictures some weeks without looking at them to have a clean look and to know how to work on them. Once I have found how to, I work like crazy to get them finished. That means that I spend hours behind my computer desk. I have no children, so I can be a selfish artist who works until she has the images she wants (and a very good husband ;-) ). Traveling for art, for example for personal exhibitions or for other art exhibitions, you want to see? Do you like to see others’ art? In Belgium, we are lucky to have many great museums, galleries, and exhibitions. Even for such a small country. I visit them on a very regular basis. Weekly I follow the agenda of what can be seen and where. I like to make the visit something more by combining it with visiting a good restaurant or visit a part of the city center. My exhibitions have always been in Belgium, but I would love to travel in the function of an exhibition of mine abroad. For the time being, I visit other artists’ expos when I travel. Venice is a city that belongs to one of my very favorites, just because of the contemporary art scene. I don’t like to see everything, because I get tired if I want to see too much. I prefer choosing and then visit qualitatively. Every time I visit a city abroad, I want to see a museum, an artist’s exposition, or a cultural happening. I like to see others’ works of art, especially not contemporary artists. I admire their craftsmanship, I get inspired by their themes, I look at their use of materials. Where are your favorite places or themes where you can find inspiration for your work? I love to visit churches to see the expressions on the big paintings or the sculptures. I love the baroque side of that art. I try sometimes to transform it into my artwork. I also find inspiration by traveling to other continents: Asia, Africa, India. Visiting some centuries-old buildings or temples makes you think about the essence, something I need in my art. Also visiting some rough nature like rocky islands, big caves, rough deserts set my brain going, which are inspirational. Have you studied art or are you self-taught? I studied theatre, so yes, I studied art. For 20 years a was a theatre director and stage designer. I worked with existing texts, but in the later years, I worked more and more with new text material that I wrote myself or I gave a writing assignment to a writer. But I felt I wanted to tell my stories by using strong stage design. I wanted to focus on that, on the visual, but that wasn’t possible within the context I worked. So I decided to go all the way and focus on my visual skills. So photography, which I practiced for some 10 years, was self-taught. The sculpture is something I learn in evening classes and by just trying and doing it on my own. Do you remember the first artistic work you did? Yes, I was 9 years old and for school, we had to design the cover of a children’s book of our choice. I liked to read and I just read ‘Duet met valse note. I made a kind of collage, without realizing what a collage was. Without my knowing, the teacher submitted the painting for a contest and I won. At that time, I really couldn’t imagine having a talent for such things, so that’s why I still remember. What do you think about social networks and the web about art and artists? I don’t know how it was before, without the visibility of social media, but for me, it is a super handy tool. I get in contact with artists all over the world. I even get in touch with galleries and curators. Of course, many of the likes and the followers are very volatile but you just need 1 person who is really interested to take a step in your career; or one gallery who wants to see more of your work. Without social media, I think it is much more difficult to get your work seen. In a way, it makes it more democratic. Not just the happy few or the established artist get visibility. Could you talk to us about the idea of your project? The purpose of my project is the research into ‘theatricality as a pre-anesthetic instinct’ within multiple visual arts disciplines (sculpture, photography, installation), inspired by the linked art-philosophical works’ La violence et le sacré ‘by René Girard and’ The birth of the tragedy ‘by Friedrich Nietzsche, to deepen one’s visual practice into the a’ world of intensity ‘, not intentions.In this, theatricality does not refer to ‘bombastic’, fake, or ‘artificial’, but to an intensification of a reality that directly appeals to our touch, raw emotion that can be traced back to human instincts.Nietzsche investigates the Dyonian, the desire, the intoxication, violence, irrational as
the only human motivation. The instinct is the driving, creative force in people. The suffering man, the tragic man in his morbid libidinal body, only has the here and now in all its horror, its finished. He draws his strength from this. Not out of reason and easy-going. He calls language a disease that weighs heavily on human development because the language has withdrawn from its true mission of expressing strong emotions and is forced to concentrate on communicating thoughts. René Girard will unravel the primordial rituals to explain human desire and social systems. He focuses on the ritual sacrifice, the proverbial scapegoat, once really a human sacrifice. The link to Greek mythology and later Christianity tries to place the violent nature of man in a world full of desire (mimesis), both sexual desire and the desire to get what someone else has. The sacred and violent, the tragic and theatrical are placed at the center of a world that tries to organize these aspects through religion and commandments. If we go back to the worlds of before mythology we come into primal forces of Eros and Thanatos, the Perpetuum mobile of life and death, the circular movement of metamorphosis from human to nature and from nature back to human. The movement of ebb and flow, of day and night, of the seasons. Rituals, voodoo, animism, are attempts to defuse these transformations of nature. https://en.wikipedia.org/wiki/René_Girard https://theoxfordphilosopher.com/2014/08/25/the-dionysian-and-the-apollonian-in-nietzsche-the-birthof-tragedy/ http://barbaravdd.be/sculpture/ commissie-cultuur/ You have organized exhibitions in the past. How does it feel to involve others in your art? To show your art to others is a basic form of communication. Especially when you can make your exhibition, with a personal story in it. You can invite people to step into your world of intensities. Although you are always fragile as an artist because there are always people who are not willing to enter into one another world, it is the most beautiful experience if you see people taking an interest in what you made, be fascinated, or even get moved by what they see or experience. Seeing art on a smartphone screen is not comparable with the experience of seeing even touching the real works of art. What is your favorite artwork? The Guernica by Pablo Picasso. When I saw it at the Museum of Madrid, it was an amazing experience. I wasn’t prepared that it would feel so heavy. I just thought to go and watch a painting. If you could show off your artwork anywhere in the world, where would you choose?If I could choose I would choose Venice because when I first visited Venice
it was the first time in my life I fell instantly in love with a city, even with the tourists and all the economic tourist traps, it felt like a special place to me. I never experienced that feeling again with any other city. Are you reading a book at the moment? There is one book you have on your reading list?For the moment I am reading the biography of ‘Leonardo da Vinci’ by Walter Isaacson, but also ‘Fen’ by Daisy Johnson, short stories that are all situated in the fen, a piece of land full of mystery. 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? Berlinde De Bruykere, Ghent Belgium, Steven Peters Caraballo, Belgium And an artist who is not famous but who you like and whose artistic research do you share? ����������� Elke Lutgerinck, 1982, The Nederlands. I just discovered her work via Facebook and I had a strange feeling of recognition. But she is not unfamous in The Netherlands and Belgium I think, but not known by a big international public. She combines fashion design with sculpture and lets both influences each other. 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? I am happy to have trusted NNC Gallery. It is correct that I didn’t know what to expect, but when I saw the artworks of the other artists that applied, I had the impression that my work belonged to the same artistic and esthetic genre and level and I was triggered by what I saw. Now I am very curious about which concrete steps NNC Gallery will take in the future. That’s not clear to me and surfing on the internet doesn’t give me any answers either. I will have to wait and see I guess? 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 that’s a good thing. As an artist, it is always a risk to pay to apply for something. I do it very rarely because it gives me the feeling that I am naïve and just paying for others to earn money thanks to the urge of the artists to get some recognition. So once you got selected it means that the organization has confidence in the artistic quality of the chosen emerging artists and that they will take the risk of the kind of ‘representing’ them to new professionals in the field.
CONTACT websites: www.barbaravdd.be
facebook: https://www.facebook.com/barbara.vandendriessche Instagram: https://www.instagram.com/barbaravdd https://www.instagram.com/barbaravddtravel LinkedIn: https://www.linkedin.com/in/barbara-vandendriessche-a103323b
image: “Floating” “Floating” “Routine” “Routine”
Barbara Vandendriessche, Brussels Belgium 1974 Photographer / sculptor / visual poet ‘With my pictures and sculptures I seek for the beauty in the tragical, in pain.’ Barbara Vandendriessche worked for 20 years as a director and set designer at the theater. But more and more, photography, which she initially regarded as a sideline, invaded her professional path. She discovered how her experience within the theater influenced the language of her photography and experienced a sense of “back to basics”, of re-sourcing, of being busy with the essence. In order to be able to clarify this more, she decided to leave the black box in 2017 and tell her story on the basis of photos and sculptures. Her photos are often staged and focus on physicality, emotion or expression. They look for a physical and psychological vulnerability. Her sculptures are a study of damage, both in the use of matter and in the expression of an emotionality. The broken, the damaged, the unfinished and confused are represented in different ways through heads and bodies. Yet there is always a “sparkle”, sometimes figuratively, sometimes literally, perceptible. In the Damaged Goods exhibition, her photos and sculptures come together and reinforce each other in the story of fragility, melancholy and psychological injuries. But always using an aesthetic that anoints, that offers comfort. My photography is theatrical. But ‘theatricality’ is an elastic concept and also has many negative connotations: bombastic, exaggerated, false or artificial. This is how I define it myself: theatralization is the abstracting and enlargement of reality to evoke emotion in the viewer, not through reason, but directly appealing to an approach that can be traced to our ritual instincts. Theatricality as a pre-aesthetic instinct. That is what I try to represent with my photography: how to portray the emotional body tragically? How to create a tragic image that expresses emotion and triggers emotion? Search for images with an intensity, no images with intentions. Images you look at because they tell you something, even if you do not immediately know what. Images that evoke a story, without being narrative themselves. Often with the female body as an expression of beauty.
interview collective 19
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. All my artworks are digital merged photos in several layers. In this process, surreal coloration and double exposures are essential tools used to address the simultaneity of the world and its individual interpretation in the context of experimental photography. I understand and see my works as modern interpretations of the photo collages of the Dadaists. A central concern of my experimental photographic work is to create a counter-draft to the prevailing photographic and social conventions. Just like the Dadaists, who rejected the political, moral and aesthetic values of the time and elevated everyday objects to the status of art using artistic methods and means of expression such as collage or photomontage. My photographic work plays with a metaphor for something that is beyond the photographed subject, deals with the representation of something that lies beneath the visible surface of reality, lies beyond the limits of what can be seen and represented. For me art is an equivalent of the most profound life experiences. Therefore, I open up a visual space for the viewer, which leads him /her beyond the possibilities of the pure knowledge of reason, which can no longer be explained by an intellectual judgment alone. What is depicted eludes the simple reproduction of its surface, becomes a means of transport for my subjective representation of the world. To achieve this, I developed my own visual language. A visual language that thus acquires a unique character. Metaphorically speaking, I lay the photos on top of one another as if on a dissecting table, in order to digitally merge layers, shapes and colours. This leads to an abstraction in which the photography is still recognizable as such, and yet something new is created. Reality shows itself changed; is indifferent to the alleged attachment of photography to the real world, and becomes a carrier of the contents of being and the imagination. In this process, I work purely intuitively and try to find an expression for my visions as a poetic and aesthetic appropriation of life and timelessness. For me, every picture is a piece of the puzzle for a lyrical approach to these subjective visions and at the same time a chance for the viewer to make their own perceptions and experiences. My photographic works explore questions of reality and discover the answers as poetic illusions
Fade out into presence
Surviving the asking
about the human mind. This is not an easy theme, because it is about the philosophy of aesthetics and perception. I use it to create new worlds that should initiate something in the viewer, make them sound, trigger feelings. In doing this, they may come closer to people and reality than reality itself allows, because visions and other dimensions can, even if it is only for a tiny moment, like behind a translucent veil, a briefly opening border, be divined. At the same time, my works are media-reflective, as they make it clear to the viewer that every photo, and thus the reality depicted, can be digitally changed. With digitization, a variety of design possibilities and thus forms of abstraction were added to photography. In the classic photography, reception, this is unfortunately still all too often viewed as not media-compatible, although digitization has been widely used in the medium for many years. Therefore, in addition to the content, a central concern for me is leading the viewer on new visual and aesthetic paths in photography and thus to a changed way of perceiving the medium. Nevertheless, the basis of my photographic art is still working with the camera. Within which mood of art you place your Artwork? Experimental Photography
Light under skin, that powders by a touch
Could you tell us something about the art in your country? Is there an active artistic community? Are you part of it? For photography and for me, the best community right now is Instagram, like all over the world. In Germany, galleries are now increasingly taking photography seriously as art, and thus include photographers as artists in their program. In addition, there are more and more galleries that specialize exclusively in photography as art. Like my own gallery owner, Andrea Ahlemann, whose gallery is specialized solely in abstract photo art. Nevertheless, this is also a global trend and not just in Germany. Since the beginning of 2021 I have been an artist in an international gallery for contemporary and modern art, the Rodart Gallery. www.galleryrodart.com www.galerie.ahlemann.org/ Photography is increasingly shown in museums. For example, the Museum Ludwig, Cologne was one of the first contemporary art museums in Germany to establish a dedicated photography section. The
Working on photographing the wind. El Puerto de Santa Marie, Andalusia, Spain
southern Deichtorhalle in Hamburg was in 2003 transformed into an „International House of Photography“. Its aim is promoting photography in the broadest sense of the term and acting as a forum for past, present and future aspects of the medium through temporary exhibitions, symposia, and supporting programs. The Fotografie Forum Frankfurt has specialized in photography of international quality, be it contemporary or historical. The Museum Folkwang, Essen, has an international bent, concentrating particularly on the 1920s, the post-war period, and contemporary work. It now includes more than 50.000 photographs. The “Pinakothek der Moderne“, Munich, gained important holdings of contemporary international photography. Moreover, the Sprengel Museum Hannover established a specific photography and media department in 1993. Berlin’s Museum of Modern Art, Photography and Architecture collects everything from the work of Berlin’s early daguerreotypes right through to the work of contemporary photographers. What’s a typical day in PETRA life? I am on the way with my camera to discover and collect new basic motives for my artworks, or I sit in front of my computer creating a picture I am satisfied with. That would be a successful typical day. Because I try to get involved with the experiences of daily life and train my awareness for them. If I am lucky, the sun is shining, it is warm, I have something delicious to eat and my loved ones are around me. 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 travel to exhibitions and art fairs like ARTe Wiesbaden, Photo Popup Fair in Düsseldorf, or Contemporary Art Ruhr, Essen where my work is regularly presented. I am interested in art of all kinds. Everywhere I go, I visit art museums, galleries and look for works that touch me. It is important for my inspiration to deal in mind with the work of other artists and experimental photographers and find out which emotions they trigger with myself and what is about the fascinations of these artworks. It is very motivating and helpful in my own work. Where are your favorite places or themes where you can find inspiration for your work? It inspires me to be on the road, to experience something new and to see myself exposed to the unknown. That´s why I travel a lot, more or less six months a year with my husband in our motorhome. We regularly spend the winter months in southern Spain. I always have my camera and my computer with me. My motives meet me; I am not so often searching for them. Everything that resonates with me, I look more closely to it through the camera. On a narrow, almost a meditative form of bonding, the camera and I build a unit for this moment. For me, art seems to come from a place where experience has remained unexamined, where the rational mind merely observes, with holding its filtering capabilities, refraining from examination. Working on photographing the wind. El Puerto de Santa Marie, Andalusia, Spain Have you studied art or are you self-taught? I studied art, design and photography in Germany. First at the University of Applied Sciences Darmstadt, in the department of design. Then photography and media design at the Academy of Design Do you remember the first artistic work you did? No, I am sorry. I cannot pinpoint a specific moment when my artistic work began. Art has crept into my life. I remember the first picture in the special technique I am working on now. I called it “How they vanished” and I loved it very much.
How they vanished
in Offenbach. Later art education at the Johann Wolfgang Goethe University Frankfurt. However, of course I keep learning. It never stopped it, because I am in a constant process of development and therefore I always have to learn new things. What do you think about social networks and the web about art and artists? Today artists, and especially photographers, use Instagram as their virtual art gallery, like myself. Facebook and Instagram allow speaking with the followers about who you are and what you are making. Never before an artist has had the chance to get into a conversation with his/her audience, other artists, photographers or galleries, so directly. In addition, I believe that the traditional art world is changing by social networks. Especially now, in times of the pandemic, which will change our world, our social and cultural life permanently. Artists can be more themselves on these platforms. For example, my work does not fit well into the usual drawers of the art world. As my way of abstraction in photography holds a not yet established position, for it has always been a phenomenon in painting. Digitization added a variety of options for photography which made possible a fusion of both media. This can lead photography onto new visual and aesthetic ways and to an altered perception of the medium itself. My images are counterproposals to the conventional way of representing our culture-dominated presentation of photography, but they can find their own audience on Instagram and Facebook. http://www.instagram.com/p.jaenicke.photo https://facebook.com/p.jaenicke.photo Could you talk to us about the idea of your project? Ordinary Explorations Part II. Series from 2021 These works explore questions of reality and develop answers as poetic illusion. The pictures the camera catches are aesthetically altered. Each image tells a story about a poetic utopia of sensual world experience taking elements from spaces of sobriety and magic. The results are a collection of imaginative alternate realities. In this way, they become visionary. They are, however, also reflections of the medium itself, making the observer aware of the variability of each picture and thereby the reality it presents. Created by digital double exposures in several layers, the photos are modelled on something real, but are beyond the certainty to represent reality. The images of the series are not to appear as photography clad in painting,
Whose Light do you reflect
Into Rooms of Red
The Silence After
Where the Light shines in
Note for Celia
I aim at dissolving the dichotomy between “reality art photography” versus “digital art photography”. Digitization added a variety of options for photography, which made a fusion possible, as you can see in the series. You have organized exhibitions in the past. How does it feel to involve others in your art? It is important to me that as many people as possible see my art. I create poetic worlds that invite to come in and experience ways of seeing own potential. Each image is a lyrical response for my personal awareness, and at the same time a chance for the spectator for own perception and experience. My images are not supposed to look nice; they are supposed to make the viewers feel something. What is your favorite artwork?
The inexorable live-for Greta
It’s called “The inexorable live-for Greta” from 2020. It shows the portrait of my grandmother Greta as a young woman. It should not tell her story, but makes one suspect, stimulate thought about this woman’s life. Therefore the title is also poignant. If you could show off your artwork anywhere in the world, where would you choose? London or New York. Are you reading a book at the moment? There is one book you have on your reading list? Yes. Haruki Murakami: Hard-Boiled Wonderland and the End of the World. On my reading list I always have Murakami and Heinrich Steinfest, a multiple award-winning Austrian writer. I love both authors a lot, because there stories are subtly surreal, much like my pictures. Is there a famous contemporary artist that you want to report? My famous contemporary artist is David Hockney. I love the almost photographic realism and the mood of his drawings. And an artist who is not famous but who you like and whose artistic research do you share? A German female artist, Hasina Kahn. Instagram: hasinaphotoart.
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, you discovered me on Instagram and I am very happy to get this chance. To me, you are an excellent example of how social networks and the web can promote art and artists. It makes me proud to belong to the collective 19. 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 you are doing a great job. You are helping the chosen artists a lot in any way. Petra Jaenicke, Germany
contact firstname.lastname@example.org http://www.instagram.com/p.jaenicke.photo https://facebook.com/p.jaenicke.photo https://galerie.ahlemann.org/petra-jaenicke/
Petra Jaenicke After my median design and photography studies, I worked for many years in the multidisciplinary field of art direction, film direction and photography. After that, I redesigned my life and I worked even a long time as a teacher and in teacher training. Since 2016, I am happy to be able to work only in the field of experimental artistic photography. My images are a lyrical response of the aesthetical echo of female poetry and strength, and of my personal awareness in the context of art photography. They show reality as my own interpretation and at the same time as an irritation. In this way, the imagery becomes visionary. The result is a collection of imaginative alternate realities. I create new poetic worlds that invite the viewer to come in and experience with their own ways of seeing.
CHALLENGE 21 march SHORTLIST
luciano caggianello italy
Daniela di Lullo
Ekaterina Chirova russia
SELECTION march 2021
Asha Lepiarczyk daniela volpi
Hiroshi Mizuno Fernando Cid reyes Erika Zorrilla
Ciro Romero Manrique de Lara DUARTE VITORIA
maurizio Garcia Vega
Nina Tokhtaman Valetova
Christina Geoghegan SUOMO SNOOK
Maria Neohoriti Ksenia Ozdamar
THE SECRET ROOM Contemporary Art and Electronic Music Project curated by Celinè Flamboyant Virtual exhibitions in the virtual world we are creating for artists.
FINISSAGE 18 APRIL 2021 DEBORA BARNABA COLLECTIVE 17 SUZANNE LASTRINA COLLECTIVE 18 RAFFAELLA STRINGA COLLECTIVE 19
Illustration by Das
Special guest call Each month our curator chooses an artist for the Special Guest session; 3 pages will be dedicated to your work. Send your application and see your work published in our web and print magazine. The magazine is sent to hundreds of art galleries and art experts.
SPECIAL GUEST MARCH 21 BY VANESSA RUSCI
Berta Ibáñez COLOMBIA
special guest sci nessa Ru by Va
.H.A.N.D.S. is a photographic project that I started developing at the beginning of this year, in the south of France, where I have lived for 21 years. In its origin there are two essential elements: on the one hand, the continuous search for experimentation with the technique of cyanotype using non-conventional supports, and on the other hand, the need to work on an issue rooted in the current global context generated by the pandemic which it has affected us all. I started by photographing the hands of my beloved and while I was doing it I thought about all the friendly hands that I can no longer touch. Physical contact has become a risk, but also a huge lack. Caresses, kisses, hugs, a simple handshake are forbidden. I decided to invite my distant friends and my family to send me photographs of their hands, those hands that were there at some point to help me, accompany me, caress me, support me, comfort me. I asked my close friends to allow me to photograph theirs. The project thus ecame a great collaborative work. I transform the collected photographs into negatives and then print them in small cardboard boxes that I recycle. Each printed cardboard box contains, in a certain way, not only a form of presence of the person photographed but also a message of love and solidarity. Given that the types of paper with which the boxes are made are very different, the result is also very different; the range of shades is incredibly varied. At the time when I was a student at the School of Fine Arts, far from home, my mother regularly sent me a cardboard box containing lots of delicacies that she prepared with her hands: cookies, breads, cakes, cheeses. Those cardboard boxes were my mother’s love messages; even today I clearly remember the sweet smell they gave off.
Berta Ibáñez EXHIBITIONS 2021 NOS FUTURS, Biz’Art’Rit gallery - Foix (Francia) Cent Centimètres Carrés, Galerie du Philosophe - Carla Bayle (France) Femenine/Masculine, PH21 Gallery - Budapest (Hungary) II Encuentro Internacional de Mujeres Artistas Visuales, MUA Internacional, virtual exhibition. 2020 IPA, International Photography Awards, One Shot photo contest, street photography category - Los Angeles SHOTS Magazine N° 149, photography contest - Saint Paul, Minnesota (United States) Portraits, photography contest, Blank Wall Gallery - Athens (Greece) 2019 Paris Photo, as a part of the Pink Ribbon Photo Award, Grand Palais - Paris Salon Talents de Femmes 2019, Espace Olivier Carol - Foix (France) D’art en Art - Mittelbergheim (France) Street Photography contest, Blank Wall Gallery - Athens (Greece) Portraits, photography contest, Blank Wall Gallery - Athens (Greece) Moments of Color, photography contest, Blank Wall Gallery - Athens (Greece) Fine Art, photography contest, Blank Wall Gallery - Athens (Greece) Chania International Photo Festival, photography contest - Crete (Greece) The Big Picture, Denver (United States) The shape of Things, photography contest, PH21 Gallery - Budapest (Hungary) CorpoRealities, photography contest, PH21 Gallery - Budapest (Hungary) Monochrome, photography contest, PH21 Gallery - Budapest (Hungary) AWARDS 2021 Honourable mention Feminine / Masculine, international photography contest, PH21 Gallery - Budapest 2020 Honourable mention IPA, International Photography Awards, One Shot photo contest, street photography category - Los Angeles Finalist in the photo contest: L’Autoportrait, outil de rébellion femenine, N° 1 GAZE Magazine - France INSTAGRAM @berta_ibanez
artist of the month
Jiatong Lu is a mixed media artist and photographer based in New York. Born in 1988, she grew up in Northwest China and graduated with an MFA in Photography, Video and Related Media from the School of Visual Arts. Rooted in her own growth experiences, her work focuses on family, self-identity, and gender issues, questioning the legitimacy of the disciplinarian culture that is deeply rooted in patriarchy and the traditional Chinese social structure. Jiatong received a 2019 NYFA Artist Fellowships in Photography from The New York Foundation for the Arts. Her work has exhibited internationally, including the United States, China, and Italy. Awards & Grants 2021 - PRIMARY COLORS 2020 Honorable Mention, New York Center for Photographic Art 2019 - NYSCA/NYFA Artist Fellowship, New York Foundation for the Arts, NY Selected Exhibitions 2021 - Context 2021 Exhibition, Filter Space, Chicago, Illinois, USA 2021 - The Dreamer Exhibition, LoosenArt Gallery, Rome, Italy 2021 - WAAM’s Focus Exhibition HOUSE & UNIVERSE, Woodstock Artists Association & Museum, New York, USA 2020 - The 2020 Favorite Photo Exhibition, LenscratchJiatong Lu Publications 2021 - Girls, featured in The Art Prize newsletter, Ashurst Emerging Artist Prize 2021 - The Secret Place With Nowhere To Hide#7, Hazey, Fifth Wheel Press’ Annual Zine
ARTIST OF THE MONTH
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yaxer brad collective 17 artist of the year 2021
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