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RICE

Vol. 3

THE CONTEMPORARY ART MAGAZINE CELEBRATING EQUALITY AND INCLUSION

// SALMAN TOOR //

// OPEN CALL Nº3 EXTRAORDINAIRES // A U T U M

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RICE

THE CONTEMPORARY ART MAGAZINE CELEBRATING EQUALITY AND INCLUSION

Vol. 3

(Cover) Salman Toor, Park Boys, 2020 Oil on panel 61 x 76.2 cm © Salman Toor; Courtesy of the artist and Luhring Augustine, New York.

(Above) Salman Toor, Group B, 2020 Oil on panel 73.7 x 66.8 cm © Salman Toor; Courtesy of the artist and Luhring Augustine, New York.

Created in Barcelona in 2020, RICE Initiative is an independent curatorial platform with the mission of creating opportunities of visibility, exposure and sales for underrepresented artists, more specifically women, members of the LGTBQ community and racialized persons.

www.rice-initiative.com 6

Kremzow & Kazianka Bus Stop in Petrovija Print 40 x 60 cm

Copyright artists, authors, RICE Initiative 2020. All Rights Reserved. RICE · The Contemporary Art Magazine Celebrating Equality & Inclusion is produced and published by RICE Initiative in Barcelona, Spain. No part of this publication may be reproduced or transmitted in any form or by any means, digitally or manually, including photocopying, recording, online publishing, or otherwise without prior written permission from the publisher. All images have been provided by the artists. RICE · The Contemporary Art Magazine Celebrating Equality & Inclusion · Vol. 3

18.05.2022 7

Daniela Zamora · Editor in chief, graphic design and writer Daniel Rojas Noack · Editor Carolina Castilho Manso · Writer and graphic design OPEN CALL Nº3 jury panel: Daniela Zamora · RICE Initiative founder & director Daniel Rojas Noack · Associate Curator ISSN: 2696-452X RICE (Barcelona)

RICE Initiative

rice-initiative.com info@rice-initiative.com

11 19 29 35 37 43

Special Guest Interview Salman Toor | 49

Open Call Nº3

By the Numbers

Open Call Nº3 was the third open call launched by RICE Initiative. Candidates had the opportunity to be selected by a jury panel to be part of the short-list—whose work is featured in this Magazine-–and to be exhibited at FLIPA Art Gallery in Barcelona, Spain, at the end of 2021. The selection process followed a minimum quota system whereby at least 50% of selected artists were to be women or members of the LGTBQ community or racialized persons. RICE’s objective doing this is to reverse the current state of favoritism towards the traditionally privileged in mainstream contemporary art, by exercising positive discrimination while still leaving room for male artists and curators to be a part of this initiative. We are happy to report these great statistics of participation!

Candidates

71%

women

29% men

of various ethnicities and sexual orientations

RICE founder & director, Daniela Zamora

( of which, 87% ) cisgender white men

9 9

Shortlisted Artists

3 3

50%

women*

Exhibiting Artists

50% men*

43%

women*

57% men*

*of various ethnicities and sexual orientations

countries

On The Existential Existence Of The #ArtistLife

Enzo

Marra “My imagery is marked by a distinct immediacy and a figuratively derived world that lives through my painted and drawn works. My previous artworld connected artworks, having moved through photographic inspired imagery and other found source materials, their forms having been reduced and concentrated into folk art cartoonesque scenarios and notions, which challenge the normal constraints of the reality we live within. My more recent subject matter which relates to a usually darker existential existence, is now made visible via instinctively applied linear and blocked out passages. The figures and symbols utilized relating to the human condition, their emotional impact emphasized by the directness of their application, without extraneous information to muddle the message they are willing to deliver. Their intimate scale allows the viewer 11

London, United Kingdom

@enzomarraart

to build a relationship with their cast, as they are stood in-front of the hung painted surfaces. The purposely limited palette allows the depicted scenes to not be obscured or overtaken by unnecessary frivolous flourishes. I am constantly working towards expressing the most through the least physical interaction. My figuration has taken on a necessary degree of abstraction, to give it that impact and aliveness that I hope can be achieved through freed pigment and drawn mediums”. Enzo Marra is a London based painter with a BA degree from the University of Reading and an MA degree from the University of Brighton. Text by the artist

(Previous page) Enzo Marra Mask, 2019 Oil on canvas 41 x 31 cm

(Above) Enzo Marra Finger painting, 2019 Oil on canvas 41 x 31 cm

Enzo Marra Hopeful, 2019 Oil on canvas 41 x 31 cm

Enzo Marra Cut, 2019 Oil on canvas 41 x 31 cm

Enzo Marra Deluge (smoking), 2019 Oil on canvas 31 x 26 cm

(Left) Enzo Marra Sandra Blow, 2014 Oil on canvas 60 x 40 cm

(Below) Enzo Marra Franko B, 2011 Oil on canvas 60 x 40 cm

Urban Poetic Decay

Anna

Kazianka &

Falk Lennart

Kremzow

“Rotterdam and Vienna based photographers and urbanists, Anna Kazianka (1994) and Falk Lennart Kremzow (1989) explore the intersections between photography, architecture and applied urbanism. Using conceptual and documentary methodology, the artist duo focuses on mobile society as well as urban and rural spaces with socially critical perspectives. The photo series captures moments of periphery in Croatian Istria, with 26 bus stops. Documental and conceptual, the photographic cartography approaches the different perceptions of the places. Ed Ruscha's 19

Rotterdam, Netherlands & Vienna, Austria

methodology, and in particular his photographic series Twentysix gasoline stations, serve as an inspiration to examine the stops and their identity in the urban fabric. With this photographic concept as well as the texts, the observations are presented analytically and at the same time unfold a greater poetic meaning. How does it feel to live in the environs of urban reality? It transmits the fascination for simple building methods, locations as well as the aesthetics of decay”. Text by the artists

Kremzow & Kazianka Bus Stop in Petrovija Print 4o x 60 cm

Kremzow & Kazianka Bus Stop in Finida Print 4o x 60 cm

Kremzow & Kazianka Bus Stop in Kruncici Print 4o x 60 cm

Kremzow & Kazianka Bus Stop in Nova Vas Print 4o x 60 cm

Kremzow & Kazianka Bus Stop in Fiorini Print 4o x 60 cm

Kremzow & Kazianka Bus Stop in Karigador Print 4o x 60 cm

Kremzow & Kazianka Bus Stop in Višnjan Print 4o x 60 cm

Kremzow & Kazianka Bus Stop in Kloštar Print 4o x 60 cm

Kremzow & Kazianka Bus Stop in Tar Print 4o x 60 cm

Kremzow & Kazianka Bus Stop in Vranići Print 40 x 60 cm

Power To The Indigenous & To The Voiceless

Paulo

Aillapán

“My artistic practice, as a Mapuche subject, is characterized by questioning the colonial order and its consequences within today's societies, both indigenous and global. Likewise, I address the study of the categories of race, gender, social class from a perspective that demonstrates their intrinsic conflicts, thereby reviewing its political, social and cultural implications, and proposing a critical look at these political fictions that we inhabit and build us as subjects and as society”. 29

San Sebastián, Spain

@pauloaillapan

Paulo Aillapán is a Mapuche artist, with a degree in Fine Art from Universidad Católica de Chile. Text by the artist

(Previous page) Paulo Aillapán Pintura Postal nº74 – Luisa, 2020 Oil on paper, fabric and embroidery 130 x 90 cm

Paulo Aillapán Sensitive Content, 2019 Oil on paper 121 x 89 cm

(Detail) Paulo Aillapán Pintura Postal nº67, 2020 Oil on paper, fabric and embroidery 130 x 90 cm

We Are Looking For Collaborators If you see yourself reflected in our philosophy or you like our mission and the simple idea of collaborating with a platform that (we believe) will grow like rice, tickles you, we invite you to contact us through info@rice-initiative.com:

preferably related to art or the creative industry in general.

• Tell us a bit about yourself.

Still not convinced?

• How would you like to collaborate with us?

As a RICE Initiative collaborator you could:

• Briefly describe what your professional profile is.

• Make a difference at the social level, actively working to reverse the exclusion and discrimination of women and minority groups in the art world.

If you’re interested in collaborating as a curator, send us a pdf with images and texts of a couple of projects that you’ve developed so far. Or if, on the other hand, you would like to collaborate only writing for RICE Mag, send us a couple of examples of articles, essays or interviews that you’ve written,

And well, if you are not a curator or a writer, it’s okay too, follow your heart and write to us anyway, we’ll be happy to hear from you!

• But if that were not enough, you could also have press access to exhibitions and art fairs in your city. • As well as to have the opportunity to interview interesting artists and other creatives.

Exploring The Space Within Space

Pascale

Heliot “Since 2006 until now I have been creating a project about space within space. I initially use photography, to later transform those images into pictorial images. Painting, in my case, is a starting point in the creation of spatial relationships. I embed these images in the nooks and crannies of the existing space, to obtain the opening of secret passages. The painting continues here in the real world, the limits established by the architecture are masked or moved by means of an illusion of the painting. Each painting depends on the previous one and constitutes its development, its next layer. Therefore, in each painting, distant places meet and coexist that really have nothing in common with each other. Pictures in pictures, places in places. The process of adjoining the real world with the painting and uniting them in an entirety creates 35

Barcelona, Spain

www.pascaleheliot.pl

"a painted travel space". This photographic way describes "multi-images" of possible situations. To express the difference of concrete facts that includes frequent use, I use several styles. For the creation of these paintings and installations I have assimilated the idea of a world that was not a defined and finished unit, built by fragments that often did not fit, like a world imagined by W. Benjamin. Citing various fragments of reality, I create possible situations in the paintings only in an imagined context and combination”. Born in Zielona Gora, Poland, Pascale Heliot began her studies at the Academy of Fine Arts in Gdansk and then finished her training with a master's degree at the University of Fine Arts in Poznan. Text by the artist

Pascale Heliot

Collage 01, 2020

Oil on canvas 100 x 60 cm

Linear Nature

Hannes Dolde

(DWAR) Hannes Dolde (DWAR) lives and works as an independent artist in Berlin. Born in Freiburg, the artist has always been surrounded by various materials and a creative environment. Fascinated about paper, materials and surfaces, generally about handicraft and production techniques, but also the digital possibilities, Dolde develops a process of free association and strict planning in which the artist alternates between two- and three-dimensionality several times, applying both analogue and digital techniques. In addition to influences from graffiti art, aspects of Japanese aesthetics - old and new, Russian constructivism and brutalism can be found, whereby the works themselves belong to the concrete art. His objects create clear, sometimes complex, shape-accented forms. Dolde creates contrasts with different materials, their color and surface, and found his primary material in paper and 37

Berlin, Germany www.dwar-art.de

PVC – but does not limit himself to these. Some objects, divided into individual segments and connected by internal magnets, allow an experimental exploration of the individual elements and introduce a certain randomness. Photographs of these objects conclude his working process by freezing selected views, thus reducing them again to the two-dimensional effect and showing their diversity and inherent contrast. The orientation remains open and the position of the signature unbinding. ‘My work is a self feeding process of thought, curiosity, exploration and precise execution – the unfolding of my mind. Shards, fragments, a fusion of my brain’s left and right hemispheres. Once materialized, they respond to light and to the observer’s point of view, where only over time they reveal their true form’. Text by the artist

Hannes Dolde (DWAR) DWAR(F) #5, 2018 Paper, Neodym magnets 10 x 18 x 18 cm

(Previous page) Hannes Dolde (DWAR) Box_v1_2021, 2021 Paper, cardboard, PVC, Neodym magnets 22 x 26 x 26 cm

Hannes Dolde (DWAR) elster_white, 2018 Wood structure carton, PVC, Neodym magnets 33 x 28 x 26 cm

Hannes Dolde (DWAR) FIG.5_MK2_V.1_2018, 2018 Paper, PVC, wood veneer, vinyl 26 x 15 x 16 cm

Sticky Pop Culture

Launa

Winship

Launa Winship is a French Australian colour enthusiast multimedia artist, born in 1991 in Biarritz, France. “I design simplified two-dimensional versions of objects and then meticulously fill the surface with stickers, creating multileveled textured works. The images that are chosen are associated with millennial mass-produced pop culture and are sourced in a constant treasure hunt method. I have a tendency to pick Japanese animation imagery such as Hello Kitty, Pokémon, Sailor Moon, etc. In addition to stickers, I use a range of other materials including aluminum, Plexiglas, cardboard, 43

Biarritz, France

www.launawinship.com

resin, paint, Styrofoam, PLA, wood, and found objects. I am in the process of completing my latest series: Cute But Deadly, 2020 - 2021. This collection is based on my fascination with 'variety stores' and their eclectic range of massproduced goods. In particular the replica toy weapons and various Catholic merchandise. I saturate these symbols that are cheaply sold with an accumulation of stickers and imagery to question consumer culture and to point out the downplay of violence in our society”. Text by the artist

Launa Winship Kapow, 2020 Stickers and resin on plexiglass and cardboard 70 x 100 cm

Launa Winship, Bob the Skull, 2020 Stickers and resin on metal 67 x 86 cm

Launa Winship, Daddy, 2020 Stickers on plexiglass, paint on Pla 61 x 38 cm

Launa Winship, Huffy Puffy, 2020 Stickers and resin on plexiglass and cardboard 74 x 70 cm

Launa Winship, Pew Pew, 2020 Stickers and resin on metal 61 x 38 cm

Launa Winship, Brat Brat, 2020 Stickers and resin on plexiglass and cardboard 83 x 62 cm

Salman Toor, Downtown Boys, 2020 Oil on panel · 50.8 x 40.6 cm Presented by Public Art Fund in Art on the Grid, June 29-September 20, 2020 © Salman Toor; Courtesy of the artist and Luhring Augustine, New York.

# 49

Mini-feature

Portraying the Ephemeral On the work of Salman Toor By Carolina Castilho Manso

Looking at a painting by Salman Toor feels like going for a walk in the evening and catching a glimpse of the life behind an apartment. Or perhaps it feels like being at a party and taking a moment to watch the people around you. Those moments that are so mundane and so ordinary, fragments of everyday life, but that suddenly become magical because you are watching them from the outside. The advantage of a painting is that it eternalizes the scene. If in real life you have seconds to wonder at a moment before someone bumps into you and brings you back to the present, when you look at a painting you can watch that moment for hours and fixate on the smallest details. The feeling of being amazed by ordinary life can last for as long as you want it to. You can paint two men sitting at a bar in many different ways, but how you paint it will turn it into something completely different. In Salman Toor’s paintings the stroke and the colors are anything but sharp or rigid, and the characters inside it never appear static or artificial. Instead, the artist dilutes the stroke and the colors melt into each other, making the painting vibrate with intimacy. In Toor’s work there is a story that palpitates underneath, the suggestion of a narrative going on inside the painting that we are

invited to discover. When Toor paints two men sitting at a bar, they are living immersed in their own moment, and the bar is brimming with all the stories happening simultaneously. The scenes depicted by the artist feel somehow familiar, not only because the colors and light evoke that feeling but also because they are at least partially inspired by the artist and his friends’ own experiences. There are many references to other famous works in art history (Manet, Matisse), but Toor reimagines them through a different lens. Queer, Brown men populate the universe created by Salman Toor, shedding light on the intimate lives of these characters —which we don’t encounter nearly often enough in the walls of galleries of museums—and expanding the ways in which they are represented. They are stepping into a space from which they have previously been kept out, but that now also serves as the stage for their own stories and their own narratives. Through his paintings, Salman Koor is actively creating a space where these characters can exist freely and safely, and where their stories can unfold in their complexity and nuances —and as the audience, we receive an open invitation to step inside Koor’s universe and submerge ourselves in the eternity of an ephemeral moment. # 50

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(Previous page) Salman Toor, Park Boys, 2020 Oil on panel 61 x 76.2 cm © Salman Toor; Courtesy of the artist and Luhring Augustine, New York.

Salman Toor, Art Room, 2020 Oil on panel 50.8 x 61 cm © Salman Toor; Courtesy of the artist and Luhring Augustine, New York.

Salman Toor, Parts and Things, 2020 Oil on panel 121.9 x 61 cm © Salman Toor; Courtesy of the artist and Luhring Augustine, New York.

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Salman Toor, Dad and Boy, 2020 Oil on panel · 40.6 x 30.5 cm © Salman Toor; Courtesy of the artist and Luhring Augustine, New York.

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Salman Toor, Group B, 2020 Oil on panel · 73.7 x 66.8 cm © Salman Toor; Courtesy of the artist and Luhring Augustine, New York.

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RICE THE CONTEMPORARY ART MAGAZINE CELEBRATING EQUALITY AND INCLUSION

Vol. 3