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The New Collectors Book Second Edition, 2013 Publisher & Executive Editor: Basak Malone Contributing Editors: Beste Atvur, Altug Sami Icilensu, Alvin Kuhar, Tchera Niyego Art Direction & Design: Elizabeth Taurisani Cover image courtesy of Dionisio González. Apundator ye Faraute, 2010. Installation. All rights reserved. No part of this work maybe reproduced or used in any form or by all means -graphic, electronic, or mechanical, including photocopying or information storage without the permission from the publisher.   The scanning, uploading, and distribution of this book or any part thereof via the internet or any other means without the permission of the publisher is illegal and punishable by law. Please purchase only authorized editions and do not participate in or encourage the piracy or copyrighted materials.   Printed in USA   This book may be purchased from the publisher. ISBN: 978-0-9847413-4-2 info@thenewcollectorsbook.com thenewcollectorsbook.com  

Copyright © 2012 Basak Malone LLC

basak malone llc.

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The New Collectors Book aims to become an art archive to be treasured as a reference book. We believe that contemporary art has an essential value in people’s lives, offering multiple reflections on how we live and how our futures might be constructed, furthermore hopefully inspiring and awakening us to become better human beings. The New Collectors Book operates as a showcase publication, dedicated to presenting a wide range of fine arts and providing an opportunity to appreciate select artworks for art world professionals as well as those who simply wish to enjoy and acknowledge art. We are happy in being able to feature emerging and outsider art along side well-established artists. We extend our thanks to all participating artists and venues.

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Albert Weber

Reflex, 2011. Oil on canvas, 22 in by 29.9 in by 1.6 in.

Weber uses abstraction for what it is: the ultimate concentration of a message. Edgy, angular rectangles exert a powerful vector force. Weber deploys their gravitational pull to weigh the message: its place and size within the work. –Prof. Dr. Peter Heitkaemper, Germany Weber’s paintings migrate between abstract forms, quirky realities and serious subject matter. His world of images undergoes cyclical change, reflecting the influences of his environment and the media. Rectangles of various sizes and hues appear as independent components in his paintings-this formal element, unrelated to subject and style is the key concept of Albert Weber’s multi-faceted artwork. –Verena Zeiner M. A., Germany Free Berlin modern-art-x.ch

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Debbie Miracolo

Round Trip Series, 2012. Photography.

Debbie Miracolo is a New York-based artist working in color photography. A former graphic designer with a fine art education from Rochester Institute of Technology, she creates images with intuitive attention to detail and composition juxtaposed with layers of psychological undertones. With themes of transition and passage of time, her style has been described as evocative, revelatory, and poetic. Miracolo attributes her imaginative outlook to memories of an introverted only childhood infused with make-believe worlds and storybooks. By transforming rather than documenting truth, her interpretations of train travel, humanity, and nature serve as seductive invitations to linger, question, and weave a story of one’s own. debbiemiracolo.com

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Bo Christian Larsson

Mobile Home, 2012. Courtesy of Vogt Gallery, NYC.

Symbols and ritual are two recurring elements in Bo Christian Larsson’s (born 1976 in Kristinehamn, Sweden) art—the use of symbols as an attempt to make the world visible, the use of ritual as an attempt to bring order to the world through action. With these tools, BCL brings to light mankind’s constant search for order, the identifiable and brings structure to something that seems formless. Instead of taking symbols for granted, BCL distorts them until we are no longer certain of their origin. They are stripped off their specific or original cultural meaning and are simultaneously charged with the possibility of thousands of new ways of understanding. bochristianlarsson.com 8

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Wang Qingsong

Goddess, 2011. 180 cm by 250 cm.

Within the 500 square meters of my studio space in Songzhuang, east of Beijing, I built a Goddess with a standard Mao jacket, with clay; imprisoned by the scaffoldings and green mash nets, surrounded by lots of garbage and livestock. My inspiration came from the memory of a moment approaching the Statue of Liberty in 1999 on a boat trip in a foggy and rainy night. I found the Statue of Liberty promising from the water like the Venus, pure and sacred. She is spontaneously a symbol of freedom and democracy and a yearning for selfindependence. I also find that many people nowadays with lost ideals dreaming only of how to make a nice and rich life. Some people might find these works disturbing, attempting to make concessions or negotiations between western civilization and Chinese traditions, however I think regardless of which may be further in the assembly line, they both fail between dear dreams forgotten, wheather voluntarily or forcibly by the drastic social, political and economic integration. wangqingsong.com

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Guy LaramĂŠe

Great Wave, 2012. Altered book, inks.

My work originates from the feeling that ultimate knowledge could very well be an erosion instead of an accumulation. The title of one of my pieces is All Ideas Look Alike. I want to examine thinking, not only what we think, but that we think. I want us back to this sense of presence, beyond emotions and concepts. So I carve landscapes out of books, I paint romantic landscapes and build dioramas. Piles of obsolete encyclopedias return to that which does not need to say anything, that which simply is. Fogs and clouds erase everything we know, everything we think we are. guylaramee.com 10

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Ahmed Mater

Evolution of Man. 5 Silk-screen prints numbered and signed by the artist. Printed with 11 colours on 400GSM Somerset Tub paper.

Ahmed Mater (b. 1979, Saudi Arabia) is a doctor as well as an artist and activist. His works reflect this double vocation as well as his cultural patrimony and his religious identity. He combines in his art, scientific references, medical imagery and Islamic symbols. His work has been displayed in several biennials and group exhibitions. Mater is also responsible for a number of local culture initiatives, as well as being founder of Edge of Arabia. About Evolution of Man: I am the son of this strange, scary oil civilization. In Saudi, the old and traditional beliefs collapsed. I denied my existing values. I went through an inner turmoil but still learned from traditional teachings imposed on me, whether religious, cultural, social or political. I assimilated all these ideas and then tried to destroy them. Out of this turmoil emerged a great dilemma that gave birth to many experiments in my art: my rejection, my obedience, my religion‌ everything that surrounds me. I am searching, like so many of my generation in Saudi, for ideas, for music, for poetry, for a glimpse of a different kind of life... The Illumination series is some of my most recognizable work, showing how I have injected my life into the objective world of modern medicine with my subjective world of faith and spirituality. Often using DNA codes embedded into traditional Quranic manuscripts, I want my works to illuminate, to give light. Most people will read Evolution of Man as an unabashed critique of humanity’s dependence on oil and what black gold represents to those living above the reserves. But Evolution of Man is more than just a political statement. ahmedmater.com

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Melanie Vote

Without, 2006. Oil on panel.

I replicate objects from my childhood in plaster. Rendering the forms more universal, rather than individual icons. These objects become maquettes for paintings: inserting them into landscapes both real and imagined. In paintings incorporating the cast or sculpted elements into contemporary American landscapes, they too seem like ruins or monoliths, and become archeological evidence of a society with questionable substance to leave behind. Many works though devoid of human forms, show evidence of their passing: seemingly inhabited ruins depict post-apocalyptic scenes where the individual in residence is patching together a life and making the most with what is left. melanievote.com 12

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Dorota Buczkowska

Black Swing, 2008. Plastic and helium.

Dorota Buczkowska (b.1971, Warsow). She works in various media: drawings, sculpture, installation, video. She studied at the Academy of Fine Arts in Warsaw (Conservation and Restoration of Art 1991-1998, Sculpture 1999-2003), University of Warsaw (Gender Studies 1998-1999) and Villa Arson École Nationale Supérieure D’art in Nice (2004). She currently lives and works in Warsaw. 13

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Gunilla Klingberg

GK S Sign in Space 4. Photo by Peter Geschwind.

Gunilla Klingberg has gained international attention for her installations dealing with the viral aspects of visual language and our collective unconscious in the realm of contemporary consumer culture. With one foot in a critique of consumerism and the other anchored in a strong interest in spiritualism she distorts the familiar in such a way that a supermarket logo becomes a mantric chant. Klingberg’s work, A Sign In Space, is a graphic star-pattern composed of truck tires is printed as a relief on the sand at Laga beach during low tide. At high tide the pattern will slowly vanish as the tide rises. The printed pattern is made with a mechanical device, a manufactured steel-cylinder, with the graphic pattern as a matrix relief made of truck tires. The cylinder is connected to the beach cleaner tractor which drives from side to side of the beach in the morning, creating the pattern covering the whole beach area. Following the lunar and tidal calendar, the pattern is remade again and again at all possible days at low tide. The work A Sign in Space is performed on dates when the tidal calender is synchronized with the the beach cleaners early morning working schedule—the pattern will be created on days when the low tide hour fits the labour working hours. nordenhake.com 14

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Renata Poljak Through the media of photography, video, film, installation and performance, I investigate political, economic and social phenomena that happened in Croatia since the early 1990s—mutability of social and ethical values and widespread occurrence of unregulated architectural spreads, to name just a few —which resonate in a wider European context. The works contemplate on the concepts of remembering and forgetting, and on construction and dissemination of ideologies, histories, and different political agendas. The ideas and subjects of my work stem from my own experiences; I incorporate autobiographical elements and first person narration while combining them with documentary and archival materials.

The View, from the series Croatia summer 2004. Photograph, 1 meter by 1.5 meters.

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Berdaguer & Péjus

Architecture fantome, 2011. Wax and wood. 70 cm by 70 cm by 40 cm. © ADAGP/Berdaguer&Péjus. Photo by PH.Groscaux

Berdaguer & Péjus produce projects rather than piece works, affirming the Italian literary and art critic Umberto Eco’s thesis that the reader is as much the anothor of the work as is its creator, published in The Open Book, 1962. These works are pregnant with the unknown. They are to be perceived as protocols to experiment on by the viewer’s very skin and understanding. This implies an active participation by the spectator, who is expected to play a dynamic role and not to remain the passive consumer of products imposed by cultural industries. This way, s/he comes out of being imposed upon and stirs up the work—s/he becomes the co-agent in the creation of it. In other terms, art is a relationship; reading a book amounts to writing it anew; there are in one book as many books as its readers. Berdaguer & Péjus currently live and work in Paris. cbmp.fr 15

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Gilles Desplanques

UN rescue, 2009. Performance. Š Luce Moreau-Ottoprod.

Gilles Desplanques sees sculpture as something that is closely linked to a certain experience of space. This is not only about volumes in space (the definition of sculptural activity), but also a reaction to a unique productive context. His work is partly defined by the relationship between a piece of art and the moment it was created. However, the place where this transformation takes place is not the site of an in situ performance. The artist often has other aims: to affront the world, experience it physically, to make it into artwork. In other words, to make practices reality. Producing objects or standardized living areas is one of the focuses of Gilles Desplanques’s work. For him, architectural forms that create standardized lifestyles are often linked to a certain kind of fatality. By extension, they show how people find it difficult to live outside cultural norms. Construction standards become a framework the artist uses to explore the foundations on which our society is built. gillesdesplanques.com

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Ana Maria Micu I elaborate on the observation that today’s representations of reality have become less consistent and more layered. An image can no longer stand by its own for a specific meaning. When recognition fails, a reliable retreat is the formulation of a visual progression, similar to the mathematical sequence, in which, the most important is to study the reasoning that conducts from one image to another. I experiment with combinations of paintings and drawings, picturesin-pictures type of images and mental constructs of reality triggered by fragments of text I add directly on the painting surface or as titles to my works. anamariamicu.com Run over or you ... Sublime What I got ..., 2012. Oil, ink and acrylic on canvas, 135 cm by 131 cm. Courtesy C-Space Gallery Beijing.

Abigail Lazkoz My work has always reflected on the relationship between the individual and society through the lens of gender, memory, violence, power, social hierarchy and history. For this purpose, drawing seemed to me a modest, straight-forward media, a perfectly frugal language suitable for a war economy.

Extraordinary Machines, 2009. Sala Rekalde, Bilbao. Photo by B.Zubero.

I started to draw because I wanted to find a modest way to communicate. I needed to get a perfectly autonomous, unplugged, expressional tool that would allow me to work no matter the circumstances. Drawing provides me with endless possibilities of creativity and expression, requiring little more than pen and paper. In my work I try to find ways to articulate the aforementioned interests through proposals which challenge the conventional interactions between drawings, the exhibition space, and the viewer. abigaillazkoz.com 17

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Olga Chernysheva

Guard, Edition of 3 + 2AP (from a series of 15 images), 2009. Gelatin silver fiber print, 59 in by 39.5 in. Photo courtesy of the artist and Foxy Production, New York.

Olga Chernysheva (b.1962, Moscow, Russia). She holds a BA from the Moscow Cinema Academy, Moscow and an MA from the Rijksakademie Van Beeldende Kunsten, Amsterdam. Chernysheva lives and works in Moscow. Her often unwitting subjects are observed negotiating a society in turbulence, where the sense of a common future is rapidly dissolving. Her films, photographs, paintings, drawings and object-based works lyrically investigate the fabric of individuality and self-sufficiency, and meditate upon the role of the artist in a time of flux. Chernysheva has a vital interest in the relations between object and figure, in particular in the ways that people and the spaces they inhabit seem often to co-exist uneasily. Her backgrounds with their fluctuating tonalities and psychological charge vie with her subjects for center stage. foxyproduction.com galerievolkerdiehl.com

Katy De Bock Nature inspires the patterns of my work. I use the traditional techniques of AziÍ arts on pure silk for the sparkling colors. The textiles are transformed into lamps, jewellery, Save The World globes, panels for interiors, etc. The three terms Bandhani, Shibori and Plangi identify tie and dye resists in Indian, Japanese and Indonesian cultures. When a fabric is tied before it enters the dye bath, the ties will act in resistance and a distinctive pattern will result. When the fabric is allowed to dry with the ties in place a sculptural piece will result. In each case the preparation of the fabrics is an exacting process. Not only must the ties be made uniformly and with equal tightness but the location of the binding threads must be carefully placed to achieve the final pattern. I’ve also been working on the invention of an Elan for the textile arts for many years.

Les Couleur du Monde, 2012. Hand woven, hand-knotted with hand coloured threads, silk fabrics, 15 cm by 16 cm by 17.5 cm.

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Eduardo Balanza My work revolves around the ideas of urban culture, the autonomy of counter-cultural objects, visual language and codes, music as an appropriate tool for conveying messages and the capacity of trends for ideological penetration of the masses. In this context, I developed a personal investigation which highlights the impact of discotheques on the trends, representations and spaces in which those complex tribal languages are articulated. To achieve this, I relied on appropriation, performance, manipulation, versions, mutation, disguise as a tool for visual transformation and the reinterpretation of music, songs, stars and objects.

Playback, Cassette with light inside, 2012. 97 cm by 68 cm.

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Helga Kreuzritter …Are we going to keep walking and evolve superslowly yet surely, or are we going to go against the stride, take discomfort and uneasiness without rest upon ourselves to bend our circle, make rules new in each moment and take the risk of being lost in the forest for the sake of involution?... The Abbreviated Articulation of Helga Kreuzritter –Tchera Niyego helga-kreuzritter.de

Yesterday–Tomorrow, 2012. Aluminum painting, 40 cm by 41 cm.

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Hellen van Meene

From the series: Secret Lives of Girls, 2010. Photograph, 39 cm by 39 cm.

Hellen van Meene (b.1972, Netherlands) lives and works in Heiloo, The Netherlands. Her work has been exhibited internationally and is held in the collections of major museums worldwide including the Stedelijk Museum, Victoria & Albert Museum, Art Institute of Chicago, Brooklyn Museum, MoCA Los Angeles, Museum of Photography, The Hague, Guggenheim Museum, New York and the San Francisco Museum of Modern Art. Previous publications include Hellen van Meene: Portraits (Aperture, 2004) and Hellen van Meene: Japan Series (The Museum of Contemporary Photography, Chicago and De Hallen, Haarlem, the Netherlands, 2002). yanceyrichardson.com 20

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Aman Mojadidi

Resolution, 2010. Sound and print installation conceived for the Bunker im Weinberg, Kassel at dOCUMENTA (13).

Afghan artist Aman Mojadidi’s practice is based on experiences and research in cultural studies. Having grown up as an American citizen, in a world that is simultaneously globalized and fractured, Mojadidi combines traditional storylines and postmodern narrative strategies to approach themes such as belonging, identity politics, conflict, the push to and resistance against modernization. Exploring what he calls the geography of self, Mojadidi travels through mental and physical landscapes, intentionally blurring and merging the lines between them, as well as between fact and fiction, documentation and imagination. amanmojadidi.com

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Florian Neufeldt The work of Florian Neufeldt (b. 1976, Bonn), who studied at the DĂźsseldorf Art Academy, revolves around thematic fields such as control, aggression, and danger, but also essentially the redefinition and demarcation of architectural space. Neufeldt makes incursions into given architectural situations or carries out alterations which always serve the purpose of appropriating space and directing it in unexpected ways. In this manner he creates raw settings and reconfigurations out of simple materials; precarious spatial structures which, stable or not, gives the artist a heightened feel for and creates the possibility of altered experiences of the space. florianneufeldt.com Quelques coins et un cercle, 2011. Guard rail, motor, wood, 240 cm by 240 cm by 35cm.

Jane South In Brooklyn I live surrounded by the remnants of nineteenth-century industrial architecture, crumbling wharves, shipping cranes, and windowless warehouses, along with the burgeoning technological infrastructures of the twenty-first century, giant satellite dishes and fiber-optic cable terminals. My work references these structures and the ways I have seen my neighborhood evolve (for better and worse) over the years. My work is made from paper (the larger pieces also incorporating exposed wooden structures) which is hand-cut, folded, and constructed into three-dimensional elements. For me there is an honesty in the use of paper, a direct and fundamental art-making material that has a contrary relationship to the structures referenced. I would like these works to appear to waver between things: awkwardness/elegance, architecture/ drawing, slight/monumental, direct/mysterious, ancient/ futuristic; and to exist as states navigated in the mind— like one mentally maps the landscape of a novel—but also to be present in real, external space.

Untitled (Irregular Elipse). Hand-cut and folded paper, ink and acrylic, 9 ft by 3 ft by 1 ft.

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Ivar Veermäe The main focus in my work is dealing with the issues of public space and group behaviour. I think that public space reflects directly or indirectly on processes in society and it is constantly changing. In the time of ubiquitous computing also the meaning of public space is changing. When boundaries between private and public blur, the space could be redefined as an accessible space. In my work process I use photography and video as well performative and interfering tactics, like public space installations. Also I’m trying to find and use connections between city space and virtual space. The goal of my work is to analyze the actions and processes in these spaces.

It / The Future is Bright, 2012. Installation with audio. Courtesy of Estonian Art Museum and the artist.

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Markus Krug Markus Krug (b. 1965 in Singen, Germany) lives and works in Munich. Over the last 10 years he has been working on the research of a single parameter of a seemingly stringent conception which is based on a self-established series. The constructed consistent matrix relating to shape, dimension, material, procedure and presentation becomes animated through its own imperfection. The excessive diminution on the single color white is the result of this working process. Exterior impacts and randomness are evoked and accepted. markuskrug.de WSK-F-056, 2001. Acrylic on depron and wood, 53 cm by 69 cm by 3 cm.

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Jorge Fin I am a cloud painter and an eminent member of the Cloud Appreciation Society of London. Master of realism Antonio Lopez, during a visit to one of my exhibitions, said of one of my cloud paintings, ʺpoco ruido, poco ruido...ʺ (ʺvery little noise, very little noise...ʺ) He depicted my intention of making ‘no noise’-paintings perfectly... When Salvador Dalí was asked what he would save if the Prado Museum were in flames, he said: The air of Las Meninas, by Velazquez. I wish to follow that silent way.

Batuta (baton), 2009. Acrylic on canvas, 163 cm by 114 cm.

I’ve been painting large murals in private houses and palaces as well as business offices, widely covered in Spanish media such as Elle, Casadecor, ABC, El País and Cloud of the Raising Sun, the film (2011, subtitled in English) by Goya Spanish Film Academy and award winner Santiago García de Leaniz, is dedicated to my clouds. jorgefin.com

Claire Harvey Claire Harvey (b.1976, UK) studied at The University of Reading, Chelsea College of Art and completed a residency at the Rijksakademie in Amsterdam and Iaspis in Stockholm. Selected solo exhibitions include When what was when, Galerie Fons Welters, Amsterdam (2010); Walk on, Museo de Bellas Artes de Santander, Spain (2010); Next to Nothing, Lombard Freid, New York, US (2009); Little Time, Stedelijk Museum, Schiedam (2008); Easily Removable, Member’s room, Tate Modern, London (2007). Selected group exhibitions include Making Room-The space between two and three dimensions, Mass MoCA, U.S (2012). claireharvey.net

On a plane, 2012. Oil on transparency stuck to window of aeroplane, 15 cm by 16 cm by 17.5 cm.

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Benoit Broisat

Les témoins, Exhibit #5 (Michel Houellebecq’s shirt), 2010. Page of the magazine Le Point, shirt.

Benoit Broisat (b.1980, Bonneville, France) lives and works in Paris. His work has been exhibited in the Musée d’art moderne de la ville de Paris, the Museum of Contemporary Art, Tokyo, the 9th Lyon bienniale, the Serpentine Gallery, London, the Galerie nationale du Jeu de paume, Paris, the CaixaForum, Barcelona and the Mori Art Museum in Tokyo. benoit.broisat.free.fr

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Anna J. van Stuijvenberg

Still, 2010. Installation, felt, 5 m by 4.5 m by 6 m.

Anna J. van Stuijvenberg lives and workes in The Hague, The Netherlands. The memory of the experience and the visual aspects of the place shapes the inspiration for her site-specific installations. The memory of meeting a place, the awareness of that place and the wonder about the vulnerability of that moment, the Genius Loci. Melancholy is thereby a recurring emotion in the sense of loss, nostalgia, decay and impermanence. The memory is transformed in her work by photo and drawing into material and form, with the physical aspects and atmosphere of the exhibition space as a determining framework. annajvanstuijvenberg.nl 26

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Takuma Uematsu

Forest1, 2008. Lambda print, 420 cm by 594 cm.

The networks created by the modern information society, which spread and flow all over the world, are also like living matters. By losing their feeling for previously established and close material connections via those networks, human beings have developed a way of thinking which moves freely between the macro and the micro perspective. But how exactly is it that this new way of thinking released from making material associations, affecting human relationships? takumauematsu.com

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Kilu Kilu’s artistic practice revolves around shape, movement and light. Kilu relocated from Switzerland to New York in 2006 after winning The Chelsea International Fine Art Competition. His accomplishments also include winning The Healing Power of Art award in 2007, as well as being exhibited in several solo and group shows in New York. kilustudios.com

The Fire–Lightsculpture, 2010. (Chassis) laser, fog, lucite, custom hardware and software, 12 in by 12 in by 50 in.

Matts Leiderstam Matts Leiderstam (b 1956, Gothenburg, Sweden) uses his personal visual experiences of historical paintings, which he detaches from their normative context within collections or archives and investigates from a contemporary point of view. His method is simultaneously the artist’s and the scholar’s. He lets these attitudes mix and affect one another. Leiderstam has exhibited at several institutions and galleries worldwide–selected recent major solo presentations: Badischer Kunstverein, Karlsruhe (2007), DCA, Dundee (2005), Grazer Kunstverein, Graz (2010), Kunsthalle Düsseldorf Graz (2010), Kunstmu-seum Liechtenstein, Vaduz (2006) and Magasin 3 Stockholm Konsthall (2005). Leiderstam lives and works in Stockholm, Sweden. mattsleiderstam.com

After Image (Vesuv-Ausbruch), 2011. C-print, 249 cm by 163 cm. Made after Michael Wutky Vesuv-Ausbruch, © 1796, Kunstmuseum Basel.

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Richard Lewsey

Self-portrait, 2012. Oil on wood, 3.5 in diameter.

Black dust fallen in the leaves of winged angels concurrence by the eagle’s dream remorse searching for mercury and sulphur sequence of ideas art without space and time the artist is trying to return to reality dust settling in darkness closes the screen philosophical questions die the fashion of science and the closed garden. richardlewsey.co.uk

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Matthias Beckmann

Studio Thomas Huber, from the series Artists Studio in Berlin, 2010–2012. Graphite on paper, 29.7 cm by 2 cm.

My drawings deal with specific spaces and institutions—artists studios in Berlin, art museums in Bonn, Ghent, Berlin, and Cologne, cabinets of curiosities, laboratories, romanesque churches or a broadcasting studio. The graphite drawings, based on the power of the pure line, play with the techniques of film and photography— changes of perspectives, zooming between the complete scene and extreme details, the camera surrounding the object of interest. The drawings of a series are like mosaic stones building a complex portrait of a certain place or situation. Strange traces of banality sometimes make me smile. matthiasbeckmann.com 30

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Trevor Paglen

KEYHOLE IMPROVED CRYSTAL from Glacier Point (Optical Reconnaissance Satellite; USA 224), Edition of 5, 2011. C-print, 30 in by 43 in. Courtesy of the artist and Metro Pictures, New York, Altmann Siegel, San Francisco, and Galerie Thomas Zander, Cologne.

Trevor Paglen’s work deliberately blurs lines between science, contemporary art, journalism, and other disciplines to construct unfamiliar, yet meticulously researched ways to see and interpret the world around us. Paglen’s visual work has been exhibited at the Metropolitan Museum of Art, New York; The Tate Modern, London; The Walker Arts Center, Minneapolis; The Andy Warhol Museum, Pittsburgh; Institute for Contemporary Art, Philadelphia; The San Francisco Museum of Modern Art; Massachusetts Museum of Contemporary Art, North Adams; the 2008 Taipei Biennial; the Istanbul Biennial 2009, and numerous other solo and group exhibitions. His art and writing have appeared in major publications including The New York Times, Wired, Vanity Fair, Newsweek, Modern Painters, Aperture, and Artforum. He has appeared on The Colbert Report, The History Channel, Coast to Coast AM, Authors at Google, and C-Span Book TV. Paglen has received grants and awards from the Smithsonian, Art Matters, Artadia, the San Francisco Museum of Modern Art, the LUMA foundation, the Eyebeam Center for Art and Technology, and the Aperture Foundation. In 2008, the Utne Reader named Paglen one of fifty visionaries, and in 2011 Art Review designated him a future great. Paglen holds a B.A. from UC Berkeley, an M.F.A. from the School of the Art Institute of Chicago, and a Ph.D. in Geography from UC Berkeley, where he remains an affiliated researcher. Trevor Paglen lives and works in New York and an artist-in-residence at the Smithsonian Air and Space Museum and at the Massachusetts Institute of Technology (MIT) in 2011–2012. paglen.com 31

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Pedro Morales

Sarnath, Varanasi, 2012. Photography.

By taking the practices of architecture and meditation as a point of departure I utilize the mediums of painting and photography in an attempt to record the process of the movement towards the inner. In one practice, one uses conceptual thought to build things from materials and in the other, through awareness, one travels from the outside in to the source of everything and every thing... Travelling the opposite way from the finished building as a product, beyond conception into the bright, luminous, knowing, blissful space of the mind. artnuvi.com

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Ion Zupcu

American Homes Grid, 2012. 24 individual prints, signed and numbered in pencil, verso, 11 in by 11 in mounted (7.5 in by 7.5 in each).

The houses showcased in this series illustrate the spirit and evolution of common houses found throughout North American neighborhoods from the past four centuries. They represent a range of homes from Folk Houses to McMansions. The development of these styles is a reflection of our ever changing taste and sensibility. These houses are not landmarks, they are icons of the places where we sleep, eat, and raise our families in. I have lived with my wife in a Shed Modern home for the past seven years in Upstate New York. ionzupcu.com

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William Rodwell No matter what the subject matter, Rodwell’s work, when knit together as a whole, demonstrates truth by expressing beauty, pain, strength and volatility.

Current, 2012. Inkjet print, 24 in by 30 in.

Francisco Bustamante Gubbins Chilean artist living and working in NYC, Francisco Bustamante Gubbins usually creates large-scale diffuse abstract compositions that employ innovative media amalgamations such as oil, pigment, resin, and gold leaf. Bringing to mind nature, landscapes, celestial and ethereal states, here he presents a stoneware piece depicting a plane of undulating forms executed through exquisite organic work shown at PINTA–The Modern and Contemporary Latin American Art Show. The work brings to mind an airy and dynamic interpretation of the notion of the ethereal state. In all its varying mediums and forms. bustamantegubbins.com

Untitled, Stoneware, 2012. 50 cm by 47 cm by 15 cm.

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Cindy Wright

Curtain, 2010. Oil on linen, 80 cm by 120 cm.

The photorealism of Cindy Wright’s large-scale portraits and still life paintings can often (perhaps ironically) bleed into abstraction. From a distance, her monumental paintings display snapshot characteristics, like cropped composition and intense single source lighting. However, upon closer inspection, the range of mark making and painterly application becomes astoundingly apparent. Wright’s juxtaposition of alluring mimesis and the subtly grotesque alludes to the intricate relationship woven between life and death, latent and manifest. They are conceptually rooted within an artistic tradition that forces the viewer to question the nature of how we read and understand the world, and they yet remain entirely contemporary in their technique. Her subjects are taken from her immediate milieu and are transformed into iconic meditations on our own mortality. cindywright.org

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Dionisio González

Apundator ye Faraute, 2010. Installation.

Dioniso Gonzalez (b. 1965,Gijon, Spain ) is a profesor at the Faculty of Fine Arts division of University of Seville. He has received numerous awards including the Prize Pilar Juncosa y Sotheby’s and the Fundació Pilar i Joan Miró Award. His work has been exhibited widely i.e. Museum of Contemporary Art of Cleveland, the CAPC (Musée d’Art Contemporain de Bordeaux), the MNCARS (Museo Nacional Centro de Arte Reina Sofía) of Madrid, the Museum of Contemporary Photography of Chicago, the MAMBO (Museum of Modern Art of Bogota), the Museum Folkwang of Essen, el MASP (Art Museum of São Paulo), and the MOCCA (Museum of Contemporary Art) of Toronto, Venice Biennale, The International Biennale of Contemporary Art of Seville, the Busan Biennale (South Korea), the Miami Biennale, the Biennale of Contemporary Art of Le Havre, and the Gwangju Biennale (South Korea). His work can be found in different museums and collections like the MNCARS of Madrid, the ING’s Art Collection of Amsterdam, the Museum of Contemporary Photography of Chicago, the Centre national d’art et de culture Georges-Pompidou of Paris, the Margulies Collection at the Warehouse of Miami, the Caldic Collection of Rotterdam, the Neuflize Vie Fondation of Paris, and the Williams College Museum of Art de Williamstown. dionisiogonzalez.es

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Gerwin Eipper Gerwin Eipper works with photography, video and sitespecific installations. The main focus is on the portrayal of people. One of the most characteristic features is loneliness, moments of being all-by-oneself, wrapped in thought and dreams, intimate situations in which time seems to pass slower. This can be read in the eyes and faces of the portrayed and is an expression of melancholy and longing, transitoriness and frailty and implies at the same time an appearance of being unapproachable. In his latest works the photographic and cinematic pieces are faced with installations in forms of three-dimensionally arranged compositions of materials and architecturally designed objects. Installations as gentle portraits, showing vital moments, as allegories, as a symbolization of the state of minds of the portrayed in the photographic works.

‌ and wishing you’d dreamt me, 2009. Mixed media installation. Courtesy of Claus Friede*Contemporary Art, Hamburg. VG Bild-Kunst.

gerwin-eipper.de

Gregory Michael Hernandez

Rebuilt Homestead, 2010. Salvaged wood, cement, hardware, 134 in by 134 in by 134 in. Photo by Kelly Barrie. Courtesy of LAXART and Stuart and Judy Spence.

Using photography as a cartographic tool for mapping perspective is the dominant axis in my landscape-based works, which incorporate painting, drawing, sculpture, architecture, and site-specific installation. Urban and desert infrastructure provide raw material, and become stage and setting for action and image. Conceptual issues explored include memory, history, place and space, land use and borders, confinement, exile, issues of scale and monumentality. One result is a conversation regarding essential natures of art, including: art as leftover material, art as generative mechanism, art as a series of compound representations, art as immortalizing the ephemeral, and art as relic. exilechild.com

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Therese Aasvik Therese Aasvik (b. 1974, Norway) lives in Oslo, Norway where she explores different themes on canvas. Her work is a continuous dialogue between organic and human essence—the organic qualities of earth and water inspiring vitality in the human, as well as embracing the human as it returns to the organic form. Therese Aasvik’s works have been presented in art biennials and exhibitions in Dublin, Florence, Berlin, New York, Chicago and Las Vegas. thereseaasvik.com

Trilogy in Black and White, 2011. Acrylic, 150 cm by 150 cm.

Barbara Hardmeier Cosmopolitan inspiration. Every art work is a travel through my mind and soul. It’s a mirror of my reflections. When I’m painting, I enter an endless space; a world filled with forms, movement and colors. Meditation is the source of the flow where art comes from. Is art about the emotions of technical skills? The earth is not asking for anything. I give what I can offer and that is the energy and inspiration running through my works. barbara-hardmeier.com

Dreams, 2008. Acrylic Linen Collage, 50 cm by 50 cm.

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Anne Wölk Anne Wölk is a contemporary, figurative painter, who creates mixed media paintings with a penchant for bright colors, geometric shapes, and street art forms. Landscapes by Anne Wölk are like cinematic scenery. She uses film stills as her main source of inspiration. Her work explores the relationship between cultural plurality and a recycling of pop-culture, by layering different motifs from science fiction themes and quotations from an art historical background, like symbolism and color-field paintings. Anne studied painting at the School of Art and Design, London. annewoelk.de Recall, 2010–2011. Oil, acrylic and aerosol on transparent fabric, 250 cm by 200 cm.

Margot de Ruiter-Hooykaas

Reyam, from the series Beautiful People NR 1, 2012. Oil on canvas, 120 by 140 cm.

Margot De Ruiter-Hooykaas, is an internationally renowned artist who dedicates her art to charitable causes for disabled children around the world, in memory of her elder sister. She started her painting career in 1992, after years of extensive travel. After working in Amsterdam and in a painters village in the Netherlands for several years, she moved to Monaco with her husband and two young children where she became a member of La Maison de L’Amerique Latine. Between 2003 and 2008, her paintings were auctioned at charity events in Monaco and she conducted art classes on request. In 2008, Margot and her family moved to Dubai, which gave her new inspiration. At present, Margot works in Dubai and Amsterdam. She dedicates part of her time to Mawaheb, an art studio for young adults with special needs. She is also working on a series of paintings about these young adults. deruiter-hooykaas.com 39

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Merve Hasman As an artist, you are a hunter. You hunt in an elusive and rare game called art. As an artist, you are a fighter, because you never give up regardless of what you face. As an artist, you are the cherry on top that offers sweetness to this life. You don’t wait for the right moment, you simply jump into it... It doesn’t really matter where you are coming from, all that matters is where you are headed to, the rest unfolds... And then you have a chance to make a statement your own.

Spy on You, 2012. Photography-film capture, digital print, 16 in by 20 in.

A great photographer friend once told me “All we do is beg, borrow and steal other people’s lives... Just to add more colors onto our canvas; just to be able to see the picture bigger than it really is. As a result of this choice pursuing various alternate lives, an artist is often called mad.”... Do you think she tries to find her way into truth through the perception of the ‘other’? mervehasman.com

Yeşim Meltem Gözükara Inspired by the landscape and embraced with the world of watercolour, Yeşim’s work is about nature, captivating the moment, reflecting, echoing what is resonating deep within her soul. Whether it is the beauty of it in the most poetic, delicate, magical way or whether it is in its most chaotic, unpredictable, bold, dynamic and dramatic way, the motives are love of nature and the ability to capture the interaction of light and colour with the spontaneity of the medium to reiterate the shapes and the forms around her.

Kadikoy Jetty, 2012. Watercolour on Arches, 73 cm by 30 cm.

Yesim’s paintings have been featured in four solo and numerous group exhibitions in Australia, Turkey and Korea. She currently lives and works in Melbourne, Australia. yesimgozukara.com

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Bilyana Cincarevic Purity and Serenity is a part of the concept of Holy femininity and is about the reflections of the enlightened women from the past transposed in the present time. It is an attempt in the demystification of their holiness and the transposition of their sanctity into a new form. How would enlightened women of the past look today and could the modern women experience the enlightenment and holiness of the past? Today, sacred women are replaced with the icons of style, film, business... This particular series of oils on canvas engages the observer to reflect on contemporary feminine spirituality.

Purity and Serenity, 2011. Oil on canvas, 140 cm by 90 cm.

biljanacincarevic.com

Sara Nuytemans

Observatory of the Self 2.1, 2011. Kinetic wearable object, stainless steel, mirrors, motor, gairs.

This observatory is part of Sara Nuytemans’ new investigations, called Observatories of the Self. There are spaces or constellations that help you become aware of a feeling or essence. They are underlining the principals of quantum physics; one’s convictions prescribe one’s vision on the reality of matter. The observer is forced to become aware of his/her existence, and therefore he/she will be forced to see the world without being able to forget that the perceived world is relating to him/ herself. He/she literary becomes the centre of the universe. In this sense, Observatories of the Self are meditation spaces.  saranuytemans.net

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AJL

A creative collaboration between Steep Daniels and Akiko Tokuoka, 2012. Film caption, photography.

According to the Census Bureau, Albert lives in one of the most culturally diverse neighborhoods on earth. He shoots primarily NYC street photography with a focus on portraiture and images of human interest including those of socially marginalized individuals. Despite this focus, his images contain a wide range of subjects that reflect the broad social, cultural, and natural diversity of the city. ajl.smugmug.com

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Anouk Kruithof

Enclosed Content chatting away in the colour invisibility, 2009. Courtesy of the artist.

Anouk Kruithof is a Dutch artist living in Berlin and New York. She was born in 1981 in Dordrecht, the Netherlands and graduated from art college in 2003. Kruithof considers photography as a starting point of infinite possibilities and her method is interdisciplinary and mostly idea based. Her work includes photographs, photo, video and spatial-installations, social in-situ works, take a way ephemera and artist books. Kruithof exhibited internationally and her work is collected by MOMA library, Fotomuseum Winterthur and FOAM. Â anoukkruithof.nl

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Arne Quinze

The Visitor, 2009. Installation, Lebanon.

In every culture Quinze comes across, he unravels physical processes, drawing inspiration for his oeuvre, and is fueled by overwhelming optimism. Every new creative breed captures his research and study on interaction, and urban movement expressing the continuous evolution of human beings and their surroundings. Besides building architectural sculptures, he creates complex art pieces and video installations inscribing his vision in society of how people see themselves and society. Works as Bidonvilles, Stilthouses, Chaos and My Home My House My Stilthouse My Safe Garden have been shown on several exhibitions. His sculptures generate an effect on the urban surroundings and architectural context. These works of art provide people with a framework, which can be used to pause and reflect on the identity of the place where they currently are. By means of the confrontation with public installations, people can rediscover the city and regain their sense of pride about their cities. arnequinze.com arnequinze.com/rockstrangers 44

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Frédérique Nalbandian

Repos, 2011. Installation work in progress in situ, Chapelle Sainte- Barbe, Bruay-la-Buissière, Nord Pas de Calais soap, blowed glass and pvc pipes, cables, wood, plaster, cotton thread, charcoal powder, water dripping system, water. Photo by Marc Domage.

Frédérique Nalbandian gives priority to supple and malleable materials which can be moulded, modified and with which she likes to entertain a direct and experimental relationship. She explores soap and plaster through installation work in progress, site specific work, sculptures and drawings. The most striking aspect of her work is the process which sets on stage a tactile sense of matter which has been broken down, thereby enabling us to rediscover the vigor and memory of things. As the artist confirms, her art is a game that lies somewhere between the disappearance of the model and its presentation. A process which transforms the model into a highly specific work of art, as the artist only taps the superficial aspect of her subjects, disregarding their fundamental characteristics. We therefore find ourselves confronted by a duplication and a transcription of reality in a different configuration. This conversion and manipulation consists of the act of dissolving the original substance and making the original subject disappear. The specific nature of the matrix thus loses its attributes of solidity, resistance and rigidity. This transmutation is the expression of an on-going metaphorical evocation of life itself, in which indicators of time are called upon to serve as testimonials and memories accumulated over the years. –Enrico Pedrini frederique-nalbandian.com 45

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Li Chen Li Chen (b. 1963, Taiwan) currently works in Taichung and Shanghai. His sculpture accomplished a style which has fully liberated itself from the confines of tradition by incorporating feelings of self-mindfulness and interpretations of Chinese classics from the Buddhist and Taoist traditions, blended with contemporary thought, evincing a remarkably refreshing and natural affect.

Eternity, 2012. Mixed Media (Wooden structure, Clay, Styrofoam, Sand), 600 cm by 900 cm by 388 cm.

Li Chen gave a solo exhibition in the 52nd Venice Biennale in 2007. In 2011, Li Chen’s Greatness of Spirit: Li Chen Premiere Sculpture Exhibition in Taiwan, marked Asia’s largest outdoor sculpture exhibition. In 2013, he will launch a European exhibition tour that will start at La place Vendôme in Paris. asiaartcenter.org

Eleni Kamma Eleni Kamma (b.1973, Athens) focuses on the inherent gaps and contradictions within existing cultural narratives and structures. Issues of memory, authenticity and identity take centre stage in Kamma’s artistic practice. It often takes the form of real objects or stories that are constituted as stereotypes through omission of their actual history. Kamma examines the relation of the cliché, the banal and the stereotype, to the formation of history and the production of meaning. Kamma’s work subtly reflects on space and the appearance of an object that suggests an in-between space. elenikamma.com

From Bank to Bank on a Gradual Slope, 2012. Photo by Ela Bialkowska Studio OKNO, Italy. Courtesy of the artist and Gallery Nadja Vilenne.

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Monali Meher

Falling through Irkal Well, 2010. 70 cm by 133 cm.

Since 1998 Meher’s art practice involves various disciplines. The most significant one is Performance Art as it became a necessity to use body and emotions with immediate environmental, social and political aspects. Decay, hybridization & transformation: Creating new identity; reshaping belongings; intimacy; a dialogue of matter and memory, all these constitute the language of her work. Drawings are autobiographical diagrams of her experiences. Although they reflect personal life, also indicate hidden universal truth. Initially the idea of the performance was rendered on the paper. Now the performance is transformed into another form; for example by choosing an image or a frozen moment from it and shaping a new visual: a drawing. Meher manifested number of performances; at Tate Modern, London, Rebelle, MMKA Museum Arnhem, Museum-night, Amsterdam and MAXXI Museum, Rome. monalimeher.com 47

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Susan Carnahan I am an artist, a mother and a wife based in NYC. In my work, I have often explored the nature of relationships and the perpetual shifting dynamics between people and their various roles. I am fascinated by how these roles inform each other, and how they are never static in nature, but rather constantly subject to change as they evolve. As an artist, I have examined roles and ideas from the perspective of a child. Now, as a parent, I am able to see myself in the role of my own mother, gaining a better understanding of how these cycles come together, full circle. susancarnahanart.com

Milk Run, 1999. Video Monitor, Speakers, Frame, 17 in by 17 in.

Karim Ghelloussi ...Though something like a veil of boredom seemed to settle on her face as I spoke, I proceeded: a sculpture grows from the succession of gestures which has contributed to its realization, it carries the trace, and even the wounds of the kind of choreography from which it proceeds. A note of impatience, perhaps even of irony, in the way her fingers tapped on the table. Should I tell her that personally speaking, this question of the body actually doesn’t interest me very much, at least not in these terms? The business of making a sculpture is inscribed in a singular moment which mobilizes energy, unknown forces, and the body itself, in motion. But this is like any manufactured object and I hesitate to tell her that an inexpensive chair dialogues as closely with the human body as any sculpture representing it...

Sans titre (Au désert j’ai dû me rendre), 2012. Mixed media.

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Gordon Bennett Robot sculptures, created by Gordon Bennett, are made from a mixture of found objects which are both old and new. The parts are found in various places including garbage dumps, basements, construction sites, and garage sales. The materials are wood, metal, bakelite, glass, rubber, plastic and paint. They are inspired by Norman Bel Geddes and Raymond Loewy whose visions of the Modern Age helped shape industrial design of the 40’s and 50’s. Gordon Bennett studied art at Syracuse University where he received a BFA in Advertising and Design. He is a member of the Brooklyn Arts Council. He has been creating robot sculptures for around 12 years. bennettrobotworks.com

(left) Juicer, 2010. Metal, paint, 21 in. (middle) Ammo Year, 2010. Metal, paint, 32 in. (right) Wilma Year, 2010. Metal, paint, wood, 30 in.

Šejla Kamerić Art is not a goal, but a means of self-identification —communicating my own experiences, memories, and opinions—which I want to share or confront others with. tanjawagner.com

1395 DAYS WITHOUT RED, 2011. HD video, colour, 5.1 sound 63 min. In collaboration with Anri Sala and Ari Benjamin Meyers. Starring Maribel Verdú and Sarajevo Philharmonic Orchestra © 2011, Artangel, Šejla Kamerić, Anri Sala, SCCA/pro.ba. All Rights Reserved. Courtesy the artist and Galerie Tanja Wagner, Berlin.

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Brenda Meelker

Last Corner. GiclĂŠe prints on dibond with epoxyglass.

Brenda Meelker, of Netherlands, uses photo-montage, digital painting and creative retouching to portray a world of beauty, emotion and story; one characterized by a vivid imagination and visual poetry. Today Brenda is a freelance digital artist and the owner of her company Embrision Arts, which she founded in 2011. She currently enjoys working with and for various book publishers. embrisionarts.com 50

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Gustavo Godoy

Fast-formal Object: Big White, 2009. Mixed media construction, 144 in by 300 in by 132 in. Image courtesy Honor Fraser Gallery, Photo by Josh White.

Gustavo Godoy (b.1974, Ontorio, California) currently lives and works in Los Angeles. Godoy studied painting, architecture, and sculpture at the University of California, Irvine and Santa Barbara and received his MFA at Vermont College in 2005. In 2007 Godoy had his first international show at the Mexico Arte Contemporaneo art fair in Mexico City, and in 2008 his work was included in L.A. Confidentiel, a group exhibition focused on Los Angeles based artists at the Centre d’art contemporain du Parc Saint Léger in Pougues-les-Eaux, France. Godoy was commissioned to create a sculpture from his Fast-Formal Objects series for the Wexner Center for the Arts in 2010.  Godoy’s work has been exhibited in galleries and museums throughout the United States. honorfraser.com

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The work of Christina Burch has been exhibited internationally and is represented by Voltz Clarke (voltzclarke.com) in New York City since 2000. Her work is held in major private collections, most notably the Mugrabi collection in New York. She has done special projects for Swarovski, Bazaar, Salvatore Ferragamo and others. Most recently her work has been on view at The Armory Show, Sotheby’s, Christie’s, Philip de Pury, the Watermill Center in the Hamptons, and is listed on Artnet. Her major artistic influences include contemporary art, Italian art, Japanese aesthetics, and tantric painting. Going beyond ordinary perception, into otherworldly dimensions, these recent works plummet the depths of the gross and subtle body to penetrate life’s deeper meanings and inherent poetry. The supreme and extraordinary beauty of sublime mystery is expressed through paint and imagemaking. tinaburch.com

Philipp Messner

Detail p52–53, full view p52: Untitled(arsenale), 2006. Multilayered rhoprint on aluminium, profilesystem, magnets, 840 cm by 330 cm by 20 cm. Collection MUSEION, museum of modern and contemporary art Bolzano, Italy photocredit: ivo corrá

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Christina Burch

Song of Songs, 2011. Acrylic on canvas, 108 in by 36in. © 2011, Christina Burch.

Core interests manifested in Philip Messner’s (b.1975, Bonzano, Italy) works are the relationship between the material and the virtual, the physicality of the object in space and the mechanisms of representation. Messner draws on everyday icons and political gestures, using strategies of repetition, redundancy, and performative actions to undermine normative perceptions of the pictures we are presented with on a daily basis. More than voicing a specific critique, his work as a whole is an expression of skepticism towards the image/object and aims to serve as a test-field for examining our phisically and visually mediated experience. –Laura Schleussner, Berlin pmessner.com Image Courtesy of Vogt Gallery, NYC, the artist, and VG-Bildkunst, Bonn, Germany.

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Asim Waqif

Andekhi Jumna LGT [Video Still III], 2012. 6 minutes 24 secs. Courtesy of Maral Deghati.

Asim Waqif (b. 1978, India) studies architecture at the School of Planning and Architecture, Delhi. His recent projects have attempted a crossover between architecture, art and design, with a strong contextual reference to contemporary urban-design and the politics of occupying/intervening/using public spaces. Some of his projects have developed within abandoned and derelict buildings in the city of Delhi that act like hidden activity-spaces for marginalized people. Concerns of ecology and anthropology often weave through his work and he has done extensive research on vernacular systems of ecological management—especially with respect to water, waste and architecture. He has been included in group exhibitions in India and abroad. He is currently in residence at SAM Art Projects in Paris, which leads to a solo exhibition at the Palais de Tokyo in December, 2013. asimwaqif.com

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Michael Grudziecki

Airportable (TA17), 2009. Pasting tables & neon lights, Faerberei, Munich, 240 cm by 100 cm by 100 cm.

Airportable is a lighthouse for the rushed and hounded traveller. It shows the possible destinations, guides and assures. It consists of four foldable panels and is illuminated from the inside by two neon lamps so it can be transported and mounted wherever its service is needed. michael.grudziecki.com 55

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Naj Mahdaoui As a visual artist rather than a calligrapher, I have carried out aesthetic research mainly based on the architecture and morphology of the Arabic letter, by restructuring and transgressing formal rules of classic Arab calligraphy. By freeing the letter from its constraints, I have relied on my own intuition not to reproduce words, but rather to create graphic signs. They are free ‘graphemes’ emptied of any dialectic content, used to construct abstract compositions. This symbiosis—a contemporary use of Arabic calligraphy—is at once a living and conscious testimony of a renewed ancestral culture and a quest of intercultural transcendence. Maqam Essaf, 2011. Lost wax bronze sculpture (22,5 carat gold leaf), 85 cm by 78 cm by 60 cm, Base is 6 mm patinated rolled brass 55.5 cm by 80 cm.

nja-mahdaoui.com

Gunilla Daga The creative mind never sleeps yet starting a conversation with a new canvas is daring. You hesitate in front of the white piece of textile as you know very well that you are in the beginning of a flow that will search into the most secret rooms inside your body and mind. Images are born out of relationships. Confrontations form naturally. Every image comes out often in a multilevel switching between past, present and future in the never ending story of being an artist. gunilladaga.se

Feel Free, 2012. Acrylic on canvas.

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Wendy Wischer Wendy Wischer creates work in a variety of media from sculptures, to installations, video and public works. Much of the artwork blurs the separation between the intrinsic history of working with nature and the cutting edge of New Genre. She is the recipient of several grants including the Pollock-Krasner Grant, the South Florida Consortium, and the Florida Individual Artist Fellowship. Wendy has exhibited extensively nationally, and internationally. Her work is in several public collections including the Miami Art Museum and Art in Public Places Miami Beach. Born in Wisconsin 1971, Wischer lives in Salt Lake City.

Angels and Ancestors III, 2007.

wendywischer.com

Geert Goiris “Something eludes us. It is not about what Geert Goiris depicts but about what is not there. The best way to describe it is as encountering photography. Seeking out this one-off moment is impossible. At most, it happens to us. We bump into it unexpectedly, like a gift. It is like a hapax legomenon. This linguistic concept refers to a word that is only found once in a continuous text. The world, which we are used to experiencing, forms a kind of continuous text in space and time. There, this oneoff experience occurs, suddenly and unpredictably. For one brief moment, the world speaks to us. In this sense, each image of Geert Goiris is a hapax legomenon.” Subterrain, 2011. Courtesy Galerie Art:Concept, Paris.

–Francis Smets geertgoiris.info

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Dean Shim Dean Shim is a London based photographer, graphic designer and a story-teller. His background is as a mechanic engineer and a soldier. Shim visualizes his stories vividly and tells them in a way never seen before. lazydean.com

Listening to Dance. Courtesy of the artist

Ethan Murrow Born and raised in rural southern Vermont, Ethan Murrow received his B.A. from Carleton College in Minnesota and his M.F.A from The University of North Carolina, Chapel Hill. He shows his drawing, video and film work nationally and internationally. Recent solo shows include La Galerie Particulière in Paris, Winston Wachter in New York City and Obsolete in Los Angeles. Collaborations have formed a core of his work. His film project Dust with Harvest Films and wife Vita Weinstein Murrow was an official selection of the 2008 New York Film Festival. In 2007 and 2011, Murrow was invited to collaborate with master printers at the Tamarind Institute in Albuquerque and at the Graphic Studio in Dublin, Ireland on limited edition lithographs. In Ireland, Murrow participated in the Dublin Arts Council’s International Artist Residency program.

Switch, 2011. Graphite on paper, 36 in by 48 in.

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Amanda Burk This series of large-scale charcoal drawings on paper, featuring two-headed northern animals, playfully contemplates ideas surrounding cohabitation and symbiotic relationships, and is also motivated by ideas around cellular division, conception, and the animal nature of our biology. Each drawing in the series is titled after a famous duel, highlighting the tensions that occur when we cohabitate and mirror one another. Dual (Meadow Star) takes its title from the Mother Goose Stakes and references the 1991 race between Meadow Star and Lite Light. amandaburk.com

Dual (Meadow Star), 2011. Charcoal on paper.

Eric Swart Eric Swart is an autodidactic/ self-taught artist born in Amsterdam. He portrays one of the greatest art forms our world knows; architecture. He started digitizing facades of buildings throughout the world in 1992 which began as an experiment, and became a passion. Visiting new towns where he meets the buildings he portrays, such as the Great Church at the center of Amsterdam while exhibiting there, is an emotional process for the artist. ericswart.com

Basilique du Sacre Coeur de Montmarte in Paris, 1999-2012. Printed on canvas, 40 cm by 50 cm.

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Ištvan Išt Huzjan

Revisiting the 1st m2, 2009 - 2011. Galerija Gregor Podnar, Ljubljana. Courtesy of the artist.

On the one hand my work results in atmospheric, temporary site-specific installations, and on the other hand by dealing with the format of a book I create more permanent objects. My essential themes are appropriation of my own childhood and the transitional time of the recent European history. In my practice I have moved from representation to re-enactment, which represents itself in moving away from creating an illusion on two-dimensional surface towards combining different media. I combine disappearance of the image, working with actors, music, burning and other means of temporality, to re-enact situations like transition, growing up, separation from the loved ones and fading of memory. As a young artist moving across Europe in the search of possibilities to create, I understand my studies as a research in public fetishes and archetypes, a research in our desires and incapability. In order to position myself, the question I confront myself within my work is: Under what circumstances have our paths collided and where are my traces leading me? istvanisthuzjan.com 60

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Kilian Rüthemann Kilian Rüthemann makes sculptures using simple substances such as salt, sugar, bitumen or cement, interacting these with the fabric of the building that support them—the walls and floor of a gallery, its steps, windows and lighting, for instance—to form architectural interventions that alter the function of their known ingredients, allowing structural properties to expound their own logic. –Gair Burton ruethemann.net Untitled, 2009. Parquet flooring, 100 cm by 130 cm. Fragile Monuments, SuzieQ-Projects, Zurich 2009. Photo by Kilian Rüthemann.

Stefaan Dheedene

Ghost shift, at S.M.A.K.–Gent, 2010. Photo by Dirk Pauwels.

Stefaan Dheedene’s oeuvre reads both as a critical exploration of contemporary conventions on video work and especially sculpture and installation. As such, he focuses, respectively, on the documentary mode, on sculpture as a grammar of the object, and on the installation as a sculptural situation. However, Dheedene also formulates new proposals to circumvent these conventions. Based on the refusal to accept sculpture and installation as subjective, recuperated genres, he presents entirely new conceptual possibilities and infuses the sculptural practice with critical relevance. stefaandheedene.com

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Kosta Tonev

The Framer’s Contribution, 2010. Oil on canvas, wooden bases, 210 cm by 150 cm.

I am interested in the object’s shifting status, and in the meanings related to it. My interest in the fields of language, identity and interpretation is a result of my experience as an artist living in a foreign country. I depart from my personal experience to approach social and political issues that are captured in photographs, paintings, video and text. Site-specificity in terms of particular relationships and interactions are of importance in my work. I try to involve the spectator in a thinking process, which often infers paradoxical and humorous situations. kostatonev.com 62

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Rita Sobral Campos

Chapter II. Pyxis, 2012. Inkjet print on synthetic adhesive paper, variable dimensions. Courtesy of the artist.

Born in 1982 in Lisbon, Portugal, Sobral Campos lives and works in New York. Sobral Campos’ practice challenges the validity of conventional social norms through speculative fictions. These narratives are translated not only into texts but also in films, sculpture and photography. Her most recent solo project was For the Madman the Neighbor is Himself, CAGE in New York, 2012. Collaborations include Artists Reading, with Isla Leaver-Yap, CAGE, New York, 2012 and UNCLEHEAD, with Alexandre Singh at the Museu de Electricidade, Lisbon, 2008. She has also participated in Estate, Marianne Boesky Gallery in New York, 2012, Modules, Sunday Sessions, MoMa PS1 in New York, 2012, Short Stories, Sculpture Center in New York, 2011, Poetical Things That are Political, MNAC-Museu Chiado in Lisbon, 2011, Anabasis: On Rituals of Homecoming, Ludwik Grohman Villa and Book Art Museum in Lodz, 2009. Sobral Campos was a fellow at Sommerakademie, Zentrum Paul Klee in Bern, Switzerland, 2010. She is currently preparing a solo project at Andreas Huber Gallery in Vienna, slated to open in March 2013. rscampos.com

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Susan Hefuna Egyptian-German artist Susan Hefuna creates drawings, sculptures, installations, and video performances which focus on cross-cultural codes and reflect her personal experiences of living within different cultures. Often questioning the real versus imagined realm, she creates layered ink drawings of architectural and organic structures transforming the dream state of mind into a tangible object.

Confession, 2011. Ink on wood, 96.9 in by 112.6 in. Rhona Hoffman Gallery.

One central subject of Hefuna’s work is the Mashrabiya, a window structure in Muslim architecture that allows women to see the public world while still remaining invisible. Created out of bronze and wood, Hefuna’s Mashrabiyas act as metaphors for separation and connection; inscriptions such as Confession or Woman Cairo only become visible at a distance. susanhefuna.com

Rusty Scruby Rusty Scruby, (born. 1964), lives in Dallas, Texas where he works with drawn and photographic paper constructions. His work is a dialogue between music and mathematical structures using realism as the point of departure. I’m fascinated by music’s ability, with so few components, to express an infinite range of emotions – similar to only four amino acids coming together to form DNA. Rusty’s art has been in solo exhibitions in Dallas, Miami, and LA and is in the permanent collections of The Museum of Fine Arts, Houston, The Art Museum of Southeast Texas, Microsoft, and The Cosmopolitan of Las Vegas. rustyscruby.com

Linear Charge Density, 2012. Charcoal drawing on paper construction, 26 in by 19 in by 2 in.

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Igor Mukhin

Silver gelatine print © Igor Mukhin.

Igor Mukhin is often associated with acclaimed artists in Russian photography such as Alexander Slyusarev and Boris Mikhailov through his collaborations with the Immediate Group (1989-1991). His career spans the Brezhnev period when independent photographers worked underground in today’s international Moscow art scene. Moukhin has documented the rapid changes in Soviet and post-Soviet society through a personal rather than a journalistic approach. He has a special interest in youth culture and much of his best work is of young people, often living on the margins of society. His series of the decomposing monuments of the Soviet period is taught as visual essays on the relationship of art and history in Soviet society. His work has been extensively published and exhibited. He lives in Moscow with his wife, Tatiana (Tanya) Lieberman, also a well known photographer. Mukhin’s works are property of collections at The Museum of Modern Art, New York, the Corcoran Gallery of Art, Washington D.C., The State, Tretyakov Gallery, Moscow, The Museum Moscow House of Photography, Moscow, Maison Europeenne de la Photographie, Paris and Fonds National d’Art Contemporian (FNAC), Paris. moukhin.ru

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Carla Elena

Cimientos, 2009. Mixed media, 110 cm by 100 cm.

To set color, lines, figures, in that entire disguise, the naked emotion that embellishes and terrifies us at the same time... It starts as restlessness, is lived through dreams and there is a pressing need of freeing it. It wants to be found in that great silence, in the road towards truth and beauty... To be able to gradually abstract ourselves until we feel we are disintegrating / integrating into a whole, through great vulnerability. To shudder the soul until we are not able to feel anymore, for an instant, the most human isolation. carlaelena.com/blog

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Carin Ellberg The everyday and the unexpected play important roles in Carin Ellberg’s art. Exploring materials, forms and themes from her surroundings, her works meander and intertwine in a process that take the viewer through wondrous and labyrinthine imaginary worlds. She works with drawing, painting, sculpture, video, performance and installation, always with a predilection for the naïve and playful. Carin Ellberg lives and works in Stockholm. Her work is represented in a wide range of private and public collections all over Europe. In 2005 she received the prestigious Friends of Moderna Museet Sculpture Award.

Följeslagar /Followers, 2012. Mixed media.

carinellberg.se

Yulia Luchkina Yulia Luchkina (b. 1980, Russia) graduated from the Kuban State University, Fine Art Department. The artist is a member of the Union of Artists of Russia and International Federation of Artist of Russia (IFA, UNESCO). Her works are in F.A. Kovalenko Art Museum of Krasnodar; the Museum of Angels, St.-Petersburg; Novorossiysk State Historical Museumand and in the Museum of World sepulchral Culture, Novosibirsk. yulia-luchkina.ru

Danaya, 2009. Mixed media on plastic, Н-59 сm.

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Ravi Kumar As humans, we are in constant throes of desires awakening in us, desire to eat, have sex, and consume goods/services, and their fulfilment. Also these desires do not vanish after one cycle as they keep rising in us again and again like waves in a sea. My work A thousand desires is a visual metaphor for this unresolved position, as though each tongue represents a tiny desire. It is as if I have culled all those desires together and displayed them as an assembly; in this stage it gains an independence of its own and becomes an enticing as well as repelling entity/image. ravikashi.com

A thousand desires, 2001. Cast red coloured cotton pulp, 6 ft in diameter.

Christina Bothwell I am drawn to glass because it offers an inner space and transmits light. Incorporating figures within figures in my current work is a way of exploring metamorphosis to express the sense of wonder that I feel in my daily existence and the processes of birth, death and renewal. My subject matter includes babies, animals, and children as they embody the essence of vulnerability that is the underlying theme in my work. christinabothwell.com

Hair, 2011. Cast glass, raku clay, oil paints, found object, 34 in by 13 in by 10 in.

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Margarita van der Velden

Kissing a Flower, 2012. Ceramics, 40 cm by 43 cm.

Love and beauty can be found in everyone and everything. Nearly every experience provides me with inspiration for my art. By deliberately freeing myself from the yoke of the mind, I aspire to communicate with and from my heart. My works are a study of life’s deeper questions and our interconnectedness with Mother Earth, each other and life everywhere. Each sculpture reflects the positive aspects of the human condition through love and kindness. Everything we say and do is influential, and through my work I hope to convey my appreciation for the beauty in my life so that others might find it in theirs too. veldwerk.nl 69

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Annemarie Mayers With great inspiration Annemarie Mayers, born in 1963, transforms her message of love into color and clay. Her original, ceramic sculptures are both humorous and naughty. Big bosoms and bottoms, hearts, stars, little hands and feet are regularly put on unusual places of her work so that it invites you to be authentic and not to take life too seriously. It is her mission to create art that supports people on their path to enlightment. Annemarie lives and works in the silence of the northern part of the Netherlands. annemariemayers.nl

Buddha Birds, Stars and Stripes, 2012. Mixed media.

Christina Antemann Inspired by 18th C. porcelain figurines, Chris Antemann’s work employs a unity of design and concept to simultaneously examine and parody male and female relationship roles. Characters, themes and incidents build upon each other, effectively forming their own language that speaks about domestic rites, social etiquette, and taboos. Themes from the classics and the romantics are given a contemporary edge;  elaborate dinner parties, picnic luncheons and ornamental gardens set the stage for her twisted tales to unfold. Chris is currently working on a full room installation titled, Forbidden Fruit: A Porcelain Paradise in collaboration with the Meissen Porcelain Manufactory in Germany. Spanning the better parts of two years, the installation is set to debut at the Museum of Art Meissen in the fall of 2013.

Vignette, 2009. In the collection of 21st Century Museum Hotel, Louisville, Kentucky. Photo by Kendrick Moholt Photography.

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Menno Aden

Untitled (CornershopII), 2011. 120 cm by 100 cm.

Through challenging camera angles, Menno Aden abstracts most familiar actual living environments and public interiors into flattened two-dimensional scale models. A camera that the artist installed on the ceiling of various rooms takes pictures downwards of the interiors. The resulting images lay out space in symmetrical compositions that look like assemblages stripped off any kind of objectivity. The views into private homes and secret retreats bring up associations of the ubiquitous observation camera. The notion of surveillance is systematically played out by the artist to hint at society’s voyeuristic urge that popular culture has made mainstream. –Miriam Noske mennoaden.com 71

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Kirstine Roepstorff I use the making of collages as a means to question and understand my surrounding world and it’s mechanisms. Collage is about the interrelation of things and beings, which means it is about what is in-between. When I started out as a young collage artist, I was very focused on the surface of the work. I was very keen on understanding it and I was also concerned about people understanding the same thing I did. The process taught me to have more confidence in my practice, in my intuition and audience. It teaches me to let the obvious slide aside and open more space for the underlying energies and immanent structures that moves us. kirstineroepstorff.net The Space Behind Time, 2012. 159 cm by 224 cm. Photo by Charlie Gaugler.

Mladen Miljanovic I base my art work upon the sum-total experience of my life: on one hand it is of growing up during the war and after war period in a destroyed, impoverished, ethnically and territorially divided, and externally isolated country; and on the other hand is my formal education at the Reserve Officer School. The consequences of the war and the knowledge attained in the military school, use of senseless brutal and military-image vocabulary in the new context of art, makes the basic field of reference in my work. mladenmiljanovic.com

At The Edge Performance, 2012. Oberfalzer Kunstlerhaus. Photo by Christian Schnurer.

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Yilmaz Zenger

Reinforced composite resin with added stone particles, 10 ft by 10 ft by 16 ft.

Yilmaz Zenger is an architect questioning architecture. He designs forms that oscillate between furniture and sculpture. The artist sculpts to inquire the limits of what he can. Zenger starts his creations with a pointed mental effort and maximizes it while he sculpts. He defines himself neither an eternalist nor a rationalist but rather obsessively contemplative all the way into abstraction. This particular piece shown here was created in an attempt to complete the puzzle of his client’s environment. yilmazzenger.com

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Marcos Chaves

Projeto Ocupas, 2010. Palácio da Aclamação, Salvador.

Marcos Chaves (b. 1961, Rio de Janeiro) began his artistic endeavours in the early 1980’s. By using appropriation and intervention parameters, the artist works in diverse media, openly moving between the production of objects, photographs, videos, drawings, words and sounds. Marcos Chaves surprises meanings and values that are immersed in vulgar things, dissimulated by habit or convention. He makes unpredictable displacements and produces assemblages in a tone of parody distilling his acute observations of the world, from technology to rubbish. –Ligia Canongia marcoschaves.net 74

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Robert Pettena

The Jungle Junction, 2012. Installation. Image Courtesy of Fabio Tiboni-Sponda Gallery.

Pettena sometimes subverts the function of a specific object, such as a scooter transformed into a military vehicle, or codes of social conduct that he questions. This art is sparked by the observation of daily life in which he identifies exceptional moments and places that allow us to glimpse reality, revealing its incongruous and alienating side. His work includes site-specific projects involving a variety of people from all walks of life, including some from the artistic underground. The Jungle Junction installation contributes an ecological element of any environment. This is a very elastic project which can expand or contract to fill the space available. People sometimes need green plants around them: young bendy branches of trees provide a good, versatile, elastic material for the construction of a public drinking place. The two different kinds of drinks, either made from organic fruits and vegetables or alcoholic cocktails, highlight the contradictions between healthy living and having fun. fabiotiboni.it

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Daniel F. Gliubizzi

Pine in Summer, 2011. Acrylic on Paper, 20 in by 7.5 in.

Non-verbal conversations are the most interesting kind. I love a scene with a story ready to be told. You can condense the fact from only a vapor of nuance. A still life where an apple is caught talking to a pear. Utilizing the distance between glances as the real compositional element, I make ‘realist’ paintings right now being aware that while some painting languishes in post impressionistic daily studies, the rest of our visual world is pursuing vividness, and in high definition, in 3D. I have an insatiable desire to paint the tree that I also want to climb... To translate the conversations of crows and discuss the winter dreams of sleeping trees. gliubizzi.com

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Franck Scurti Through a series of propositions I developed a meditation on everyday practices as an alternative to the idea of the project. The idea underlying this activity is to establish and to experiment with artistic practice on the same basis as what structures our everyday decisions. So I reproduced the door of my local bakery’s, filmed a glass of beer on the cafe pavement table and repaired the soles of my shoes. It was a fragmentary ensemble of small modifications articulated around the everyday. Rather than projects, these are more like moments, that is to say, the simple emission of signs, the free and unbroken development of a movement of thought. This is very different from the idea of a project because it does not involve any hipothetical programming, or control, but rather a politicising of everyday practices as the act of a present. This specific rhythm does not depend on only institutional tempo for, just as all works are political, so not everything I touch is necessarily art.

The cry, 2010. Glass vase, cardboard tube painted in oil, wood, steel, minium, 116 cm by 91 cm by 30 cm. Courtesy Franck Scurti & Galerie Michel Rein, Paris.

franckscurti.net

Mariu Palacios In our world, death is seen as a tragedy. The artist, using her own experiences, arrives at the conclusion that death is just a transition in order to be one with the universe. Mariu creates a series of artwork by mixing a very aggressive picture of a decapitated head, with arteries and veins hanging out of it, made of iron, paper, acrylics and wires; and immaculate nature backdrops. This is how these two opposites melt into a perfect unity. Transformation, 2011. Installation and photo.

mariupalacios.com

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Julia Schwartz I have a virtual rolodex in my mind which contains not names and numbers, but years of reading, looking, shadows, dreams, art, and world events. Like a receptacle of experiences, my unconscious unfurls on a painting in the same way described by chaos theory, with one small, seemingly unrelated movement having an impact on the piece as a whole.

Ice XIV Atmospheric, 2011. Oil on canvas, 36 in by 36 in.

Figures and objects become abstracted, then undergo dis-integration and dis-articulation. It’s an evolutionary process, where initial mark-making creates a conversation I have with the canvas and my mind. It’s not a literal dialogue but a visceral and non-linguistic response to the image as it is being formed. There is a great continuity between my practice as an analyst and the work I do as an artist. Both deal with unconscious influences that affect the way we see, live, and interact. What I attempt to do is visually fabricate some of those influences. juliaschwartzart.com

Nicola Lopez I build my work by layering image upon image, reflecting the way our world consists of layers: geographical, historical, technological, experiential. I describe a world that is beautiful and full of destruction, that contains moments of order and symmetry and yet hangs on the edge of spinning beyond our control. My images do not propose a clear picture of reality, but ask the question of where we really are and where we might be going. nicolalopez.com

Structural Detour 6: Chain-link Claw grasps the Knot buried in Fences, 2011. Woodcut on paper, Mylar, reflective mylar, Collage, 48 in by 61.5 in.

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Evan Mann Evan Mann (b. 1985) is a Colorado based artist who works with drawing, printmaking, sculpture, installation, and video. Evan received his BFA from Colorado State University in 2008, and his MFA from Rhode Island School of Design in 2012. Influenced by artists such as Sara Sze, Tara Donovan, Oliver Vernon and Matthew Barney, he creates otherworldly scenarios and environments that explore the meta-physical and mysterious aspects of reality. He goes great lengths to exercise his imagination as he grapples with themes related to faith, life, death, love, and the Numinous.

Cloud of Unknowing, 2012. Drawing, 42 in by 86 in.

evanmann.com

Nina Annabelle M채rkl My work deals with the structures of human rituals forming everyday life. The series of works Casting Shadows questions in which ways we consist of the things surrounding us, which attain an existence of their own, merging unseperably with oneself and take control. My works tell stories with no starting point and no end: The scenes are melt together, pictures and several possible dimensions of existing are transcending each other in a way, one can never be sure if there is any existing reality to rely on. Casting Shadows II, 2011. Ink, charcoal and pencil on paper, 110 cm by 160 cm. Courtesy of Gallery MaxWeberSixFriedrich, Munich.

Borders within and outside the human body and mind are dissolved. Nothing is fixed in these places. It is rather a non-space, a vacuum, than a recognizable one I am pointing at. My figures, without orientation, are travellers through this time, lost in space. ninamaerkl.com

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Noé Sendas My work has its roots in drawing, from the use of drawing as a means of establishing a thought in visible form. From this, and through my interest in visual arts, I define new spheres in which images are used. These images frequently pre-exist, at other times I capture them myself. In either case they always become images collected by me. While creating a new authorship, I’m not dealing with a question of ownership or appropriation but re-use, making a new split from a crack, which already exists. noesendas.com Unknown (with Stone), Edition 3 + 2 AP, 2012. Black and white Epson inkjet print (long duration) on paper, mounted on glass, 30 cm by 40 cm.

Rudolf Polanszky Viennese artist Rudolf Polanszky emerges from a generation of post 1960s artists that includes Dieter Roth, Valie Export and Franz West. Polanszky’s sculptures and relief paintings contain the raw scraps of industrial materiality—iron, wood and plastic— often poised on visually delicate but robustly balanced metal ‘plinths’ which carry aloft vessellike sections describing a circle or long horizons. Sometimes filled with smaller versions of themselves or else more visceral substances such as feathers, pigment, foam and fiberglass, they range in scale from the table-top to the monumental and coalesce mathematical histories within tropes of line, mass and space. ancientandmodern.org

Hyperbolic Sculpture (Folding Series), 2012. Mixed media on steel base, 1 m by 80 cm. Image Courtesy of Ancient & Modern Gallery, London.

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Suzanne Treister Suzanne Treister (b.1958, London) initially recognized in the 1980s as a painter. She became a pioneer in the digital/new media/web based field from the beginning of the 1990s. Treister has since evolved a large body of work that encompasses drawing, video, installation and photography. Her practice engages with eccentric narratives and unconventional bodies of research to reveal the structures that bind power, identity and knowledge. Often spanning several years, her projects comprise fantastic reinterpretations of given taxonomies that suggest the existence of surreptitious, unseen forces at work in the world, whether corporate, military or paranormal. suzannetreister.net

HEXEN 2.0/Tarot/King of Pentacles - Economic Cybernetics, Edition of 6, 2009-11. Archival giclée print with watercolour on Hahnemuhle Bamboo paper, 21 cm by 29.7 cm. Courtesy Annely Juda Fine Art, London and P.P.O.W, New York.

Tobias Collier “All the labours of the ages, all the devotion, all the inspiration, all the noonday brightness of human genius, are destined to extinction in the vast death of the solar system, and…the whole temple of man’s achievement must inevitably be buried beneath the debris of a universe in ruins–all these things, if not quite beyond dispute, are yet so nearly certain that no philosophy which rejects them can hope to stand. Only within the scaffolding of these truths, only on the firm foundation of unyielding despair, can the soul’s habitation henceforth be safely built.” –Bertrand Russell tobiascollier.com Pyramid brain, 2012. Resin, acrylic, MDF, lamp-black pigment, 50 cm by 50 cm by 50 cm.

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Anders Ruhwald

You will see, Installation view, 2011. Glazed ceramics, tiles, lamp components and string, Lemberg Gallery. Photo by Tim Thayer.

Anders Ruhwald (b. 1974, Denmark) lives and works at Cranbrook Academy of Art, MI, USA. He graduated from the Royal College of Art, UK in 2005 and has had more than 15 international solo shows including The Design Museum, Denmark and The Middlesbrough Institute of Modern Art (UK). In 2007 he awarded the Sotheby’s Prize (UK) and has been reviewed by Artforum.com, Wallpaper (UK) and The Guardian (UK). His works are in the collections of the V&A (UK), Detroit Institute of Art, MI, The National Museum (Sweden) and several other museums around the world. ruhwald.net

Vineet Kacker I like my work to walk a path between the meditative and the playful, responding both to the sacred and the profane, and exploring their inter-changeability. While the timeworn surfaces and the iconographic markings may appear to reference established traditions, words and imagery are re-contextualized to explore and question the nature of spiritual change. Cymbals are instruments commonly used in the worship of the Divine, but confronting them at an unfamiliar scale has the ability to transform the meaning of the object.

Soundless Sound cymbal. Each 19 in diameter.

vineetkacker.com

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Pascal Broccolichi

Table d’harmonie, 2010. Mica dust is spread out on the floor composing strictly regular craters, a loudspeaker is laid out in the content of each crater. The sound piece is composed with the help of a “granular synthesis” software program simulating the patterns of sound flux in motion. Courtesy Galerie Frédéric Giroux, Paris.

Developing within several different disciplines, the work of Pascal Broccolichi is based on listening and more specifically, on sound envisaged as a vocabulary of forms that lend themselves to the creation of installations. As a framework for his research, the artist has developed a network of multiple environments connected by ongoing relationships between one work and the next. By scattering the customary principles of certain acoustic laws and their fields of technological application around the exhibition art space, Pascal Broccolichi coordinates the typology of sounds with our capabilities for perception. The artist is teaching sound at Villa Arson Art School (Nice–France). pascalbroccolichi.com

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Karina Smigla-Bobinski

ADA - analog, 2010. Interactive installation, kinetic sculpture, post-digital drawing machine.

Karina Smigla-Bobinski, born in Poland, lives and works as a freelance artist in Munich and Berlin. She studied painting and visual communication at the Academy of Fine Arts in Krakow and Munich. She works as an intermedia artist with analog and digital media. She produces and collaborates on projects ranging from interactive and mixed media art in form of installations, objects, in-situ and online-artprojects, art interventions and multimedia physical theater performances, to digital and traditional painting, analog interactive installations or kinetic sculptures. Her works have been shown in 32 countries on 5 continents. She teaches in the Department of Art and Design at the University of Applied Sciences in Augsburg, Germany. smigla-bobinski.com

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Erik Gonzalez

Untitled (Yellow Grid 1), 2010. Oil and acrylic on canvas, 65 in by 299 in.

Much of Erik Gonzalez’s work operates from a base of visual humor: giant yellow paintings of other giant yellow paintings, colored mirrors with Groucho Marx masks, blob shaped paintings with mirrored copies, balloons inside boxes, etc. However, just below that surface, his vision of painting clambers between discourse and subjectivity, representation and thing. Gonzalez simultaneously explores painting’s critical viability and painting’s capacity for the human condition. Born in 1984 in Omaha, Nebraska, Erik Gonzalez currently lives and works in Brooklyn, New York. He holds an MFA from Yale University and a BFA from Virginia Commonwealth University. erikgonzalez.com

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Kim Høltermand Kim Høltermand (b.1977, Denmark) is a freelance architectural and landscape photographer. Kim was born into a creative family, with both his father and grandfather being artists; his grandfather once worked as an architect. In addition to his burgeoing career in photography— which only began a few years ago—Kim Høltermand’s day job has him working as a fingerprints expert in the Crime Scene Unit of The Danish National Police. holtermand.dk Metropolis, 2008. Photography, 36 in by 36 in.

Mathias Kessler I was born in Germany in 1968 and currently live and work in Austria. My work is a research on our western relationship with nature. How do we perceive nature? How do we understand it? How has our relationship changed over time and how does the history of art impact our current conflict with nature? mathiaskessler.com

Ilulissat 001X, Greenland. 2007. Digital C print. Edition of 6: (2) 157 x 300 cm, (2) 100 x 191 cm, (2) 70 x 133 cm. Diasec, face in mount on 3 mm nonreflective gallery Plexi, Dibond backing and back brace.

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Tintin Wulia

Nous ne notons pas les fleurs, Fort Ruigenhoek, Tintin Wulia 2011. Multiple-channel video installation of game-performance and installation with video, durations and dimensions variable, colour, stereo, loop. Game-performance/installation view. Courtesy of the artist and Kaap/Stichting Storm, Utrecht.

Tintin Wulia (b.1972 in Denpasar, Bali) bases her work on several icons of the geo-political border: the passport, the wall, and the map. Believing that human is the perfect randomiser, she highlights the arbitrariness of geo-political borders by staging participatory performances—including simple games, auction and collective mural-making—onto her rendition of borders that takes form in interactive installations, often with video. Wulia has been exhibiting internationally including in the Istanbul Biennial, Yokohama Triennale (both 2005), Jakarta Biennale (2006, 2009), Moscow Biennale (2011), Gwangju Biennale and Asia Pacific Triennial (both 2012). She is represented by Osage Gallery, Hong Kong. tintinwulia.com

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Wolfgang Betke I want that short glimpse of pure knowing which vanishes in the next moment and keeps the picture open. Through sanding parts of my paintings I make the dissolving of the figure genuine. Thus deconstruction becomes a means in the process of constructing a picture. I let uncommon paint marks in order to push painting forward towards something that surprises me. betke.de

Zustand (State), 2012. Mixed media on aluminium, 155 cm by 125 cm.

Richard Weiner “Richard Weiner not only reflects his vibrant ‘inner kid’ to the canvas—apparent in the extensive colors of his palette—but also has great talent for doing the same for people in his portraits. They give you a certain feeling like the portrait sees you as well. In his landscape works Weiner recreates the world with his prism as any exuberant artist.” - A. S. Icilensu

My Manhattan, 2010. Acrylic on canvas, 24 in by 24 in.

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Carrie Ann Baade These painted parables combine remnants of Renaissance and Baroque religious paintings, creating surreal landscapes inhabited by exotic flora, fauna, and figures. The materials and techniques used in these paintings revitalize archaic traditions from the 14th through 17th centuries, informed by years studying with art conservators and probing the old masters. As an artist and subject in my work, I consider myself a steward and an ax man of the reinvigorated past, offered to a contemporary audience for contemplation. carrieannbaade.com

The Afterlife of the Honeybees, 2010. Ink, gouache, and gold leaf on paper, 11 in by 15 in.

Verena op ten Noort Performer and artist Verena op ten Noort’s mixed media paintings combine the figurative and the abstract with its distinguishing color palette and multiple layers both in meaning and materials. Painting is a journey into the unknown, a passion resulting into new experiments. Surprisingly, the paintings reveal something new every time you look. verenaoptennoort.nl

Through the Sky, 2012. Mixed media, 92.5 cm by 112.5 cm.

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Beat Kuert

On the Right Hand Side, 2012. Hahnemuhle Fine Art Inkjet Pigment, 120 cm by 80 cm.

Beat Kuert is a photographer closest at heart to the manner of painting, clearing linguistic minimalism and moving towards a pictorial baroque-like expression made of vivid ignition of colors. Through the process that most all figurative art shares, Kuert affirms a more meaningful intelligence of reality. Kuert’s photographic work is clearly rather digital alchemy. He has been experimenting with the language of video and photography for many years, using an editing technique similar to computer imaging software that distorts and de-familiarizes so-called-real images to create a unique visual vocabulary. beatkuert.com

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Emmanuel Régent

Valles Marineris, 2012. Stainless steel, 10 m by 1.50 m. Museum of Modern and Contemporary Art of Nice. Photo by François Fernandez.

Emmanuel Régent lives in Villefranche-sur-Mer. He is a graduate of the Ecole Nationale Supérieure des Beaux-Arts, Paris, and the recipient of the Palais de Tokyo’s discovered award for best emerging artist in 2009. He exhibits regularly at galleries, foundations and museums in France and around the world. Emmanuel Regent draws with ink on paper, makes colored paintings using orbital sander and creates sculptures in stainless steel like Valles Marineris, 2012, a 10 meter long wall of blocks in the shape of carved stones. This piece recreates a ruin whose metallic fragments litter the floor like a futuristic ruin. emmanuelregent.fr

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Isidro Blasco

Bedroom, 2010. C-Print, wood, hardware, video. Variable dimensions.

My work recreates the architectural space of the whole or a particular section of the built environment according to a subjective perception of it. Only from one specific point, that is the point from which the images were shot, can we see and recognize the architectural elements the way they are in the real world. But from all the other countless points of the space, as you walk away from or towards the first point, the architectural elements are perceived distorted. Variations in perception and the way we look at the space that surrounds us are the central themes of my work. isidroblasco.com

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Werner Bargsten

Untitled, 2011. Clay, polyurethane, copper; 14 in by 18 in by 4 in.

These pieces have been coming out of me for the last 30 years without any explanation as to why they are here... Time slipping through my fingers. The Yin. The Yang. Trying to package up feelings that are either evasive or hard to manage...Probably something about my childhood on a farm in Iowa... Soil. Control. Nature... wernerbargsten.com 93

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Rémy Markowitsch

Emma’s Gift, 2011. Courtesy of Galerie EIGEN+ART, Berlin Leipzig.

In his projects, Rémy Markowitsch creates imaginary contextual spaces by drawing on an immense store of references, but these spaces can only be accessed through his objects, photographs and his installations. Whether it is an expedition into our reading of foreign cultures as in On Travel, or the exposure of the convoluted links between money, the stock market, desire, power, politics and industry, as in The Onion Option: all of Markowitsch’s projects are the result of extensive forays into literature and research, history and politics, colonialism, the appropriation of the other, a passion for collection and addiction. In Emma’s Gift, inspired by Flaubert’s novel Madame Bovary, it happens that Emma Bovary gives a present to her author while the artist presents a gift to his public in the form of a song by the band The Hillbilly Moon Explosion, Madame Bovary, c’est moi. markowitsch.org 94

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Collin Avery

Cord crossing the floral carpet, 2011. Archival pigment print, 50.8 cm by 63.5 cm.Â

Collin Avery (b.1987) is an American artist from Adams, MA. He received a BA in photography from Montana State University in 2012. In his most recent work, his photographs are influenced from his memories of adolescence and themes of New England culture. His work was on display at Saatchi Gallery in London, England as part of the Google Photography Prize. He currently lives and works in the concrete jungle of Los Angeles, CA. collinavery.com

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Vigdis Elisabeth Feldt Vigdis Elisabeth Feldt studied as an atelier-student at the Free Artists Acadamie in Stavanger where Kjell Phar iversen the neo-impressionist, was among her wonderful teachers. She started exhibiting her works at local restaurants and offices in Stavanger in 1994. Her work was then also shown at The Liverpool Biennale 2008 and The Biennale of Florenze 2011. Feldt is presented by Marzia Frozen in Berlin, The Zonak Gallery in Torino and in Milano. She is currently showing at Galleria 360, in Arte Effetto Magazine and at the Biennale of Palermo 2013. A Rainy Day on the Mountains, 2012. Acrylic.

Mireille Beaufremez My goal as an artist is simply to express my experience and of course within its limited human scope—the hidden energies and beauty of Nature. “The Hidden Side of Red Hill” is one example of such an attempt in expressing what I met at the Australian Outback. The main body of my work is interactive—realizing the blending of my photography, collages or paintings with the wonderful intervention of the digital technology. Visual Art is beyond words and I think its power and impact come from this silence. interactiveart.com.au

The Hidden Side of Red Hill (Little Desert Series). Digital Art Print, 16.7 in by 16 in.

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Alexander Binder Alexander Binder, (b. 1976, the Black Forest.) He’s a self-taught photographer, having never attended a photo class in his life. Even his lenses are mostly self-built from optical toys, old soviet cameras, prisms or plastic crap. His works are characterized by a strong passion for the spiritual and the occult. Alexander’s photos have been exhibited internationally, most notably at festivals such as Voies-Off/Les Rencontres d’Arles and PhotoIreland. His images were published in Vice, Twin, GUP, Fotografia and Süddeutsche Magazin. Binder’s books are held in the collections of the National Art Library, Deutsche Nationalbibliothek and the Salford Zine Library. alexanderbinder.de Untitled, 2009. Digital C-print, 30 cm by 40 cm. Photo by Alexander Binder.

Ole Martin Lund Bø Lund Bø has a rather minimal approach to his work. The materials used in his multi-media works like tinted film for car glass, architectural goods, structural and decorative means are inscribed with meaning, radiating power and desire. The works themselves, however, are rather extractions than abstractions, suggesting an act or a certain business. These monochrome surfaces are stage sets, codes and catalysts, producing their own specific rules of engagement. olemartinlundbo.com

Untitled (Miles Davis), 2007. Airbrush on record sleeve, 30 cm by 30 cm.

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Mil Ceulemans

MRCS526 musique d’ameublement, 2012. Oil, acrylics, inks & spray paint on canvas, 190 cm by 230 cm.

Mil Ceulemans (b.1977, Belgium) was raised in the small rural town of Hoevenen which offers the apocalyptic vision of muddy farmlands surrounded by an old incineration plant, a nuclear power plant & scores of chemical factories belching out their various multi-colored fumes. In 2000 he graduated from Saint-Lucas Institute Antwerp with a Masters in Illustration & Design Summa Cum Laude. Even though he was quickly rising to recognition within his field—working for several major newspapers, agencies and magazines—he abruptly stopped taking assignments in 2002. He emerged with his paintings in 2009. Since then he adopted the monniker MRCS and has participated in several group & solo exhibitions in Belgium and The Netherlands. mrcs.be

Richard Forster My primary activity is drawing. I find it a compulsive practice that occupies long hours of study. I have recently set upon sequences of drawings scheduled as a form of calendar. Time and process is a key concern for me. I also have ongoing projects that are grouped under a sense of place. Three separate locations are currently a point of research: my hometown of Saltburn-by-the Sea on the north-east coast of England; Levittown in the USA and the former German Democratic Republic. richardforster.net

Sandman, Berlin 2012. Courtesy of the Artist/Ingleby Gallery, Edinburgh.

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Moussin Irjan

Paradox of The American Dream. Oil Portrait, 9.69 in by 19.69 in.

I’m inspired mainly by music, especially modern Italian songs. I am inspired by people. It is important to me that my paintings are made using high quality materials and to the highest standards—by this I mean the combination of high levels of performance, creative reflection, planning and impromptu execution. Along with my ongoing painting practice, I continue to study painting. I use oil-based paint that is often quite fluid—my painting is like a watercolour technique—using oils. Sometimes I work with thicker paint, that emphasises the expression of a stroke. For me, the picture should live. The piece is completed when it conveys something I intended and want, this could occur even in the early stages of working. To make a good picture, for me, is to know when to stop. moussinirjan.com 99

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Julia Oschatz

PPF (Past, Present, Future), Edition 6+2, 2012. Videoinstallation, Video and animation on DVD, projected on a painted and cutted cardboard circle, 03:57, loop.

Through her creature’s silent outbursts, Oschatz has marked a kind of cultural autism, and it becomes the flip side of the fake glamour behind our societal bondage, which is usually disguised through mass media and consumerism. She ventures out into a spiritual abyss, which can, at best, only be held at bay through irony. It is actually more like breaking through the boundaries of irony, a way of confronting fate, as it were. –Ursula Panhans-Buehler, 2010 juliaoschatz.com

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Eva Koethen Eva Koethen is acknowledged for her paintinginstallations with objects and photographs. Reflecting from a philosophical background she also uses the medium of writing and performance. She consequently develops her artistic language and thrives from interacting with the atmosphere of uncommon places—such as Artship (San Francisco) or Aktionsraum (Hamburger Bahnhof Berlin) and circumstances—such as being invited for contemporary “concrete art” in Japan as a German artist or participating in Mozart-Experiment Aufklärung (Albertina, Vienna). eva-koethen.de

Blechfigur. Acrylic on canvas, sheet iron, 100 cm by 40 cm/40 cm by 40 cm.

Frédéric Walperswyler Between 1978 and 1998, to paint and to be at sea were one harmonious experience for Frederic Walperswyler (b.1944, Boudry, Canton of Neuchâtel, Switzerland). Existentially, both sailing and painting were essential. Without them, Walperswyler says, he could not have survived. In the past, Walperswyler’s painting offered a perspective from which he would anticipate sailing. Today, his painting experience is enriched by other influences. Books and writing have become the third element of his survival.

Memory II, 2012. Acrylic on canvas, 34 in by 42 in.

In reading, the impact of a story leads to a discovery which, for Walperswyler, in turn generates and promotes his best creative work in the studio. On his list of most influential writers are Michel Serres, Jacques Lacarrière, Philippe Sollers, Wajdi Mouawad, Cormac McCarthy, Claudio Magris, Annie Ernaux, Arturo Pérez-Reverte... artnet.ch/walperswyler 101

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Shimon Attie Shimon Attie works in a variety of media, including photography, video, site-specific installation and public projects. In much of his work, Attie engages local communities in finding new ways of representing their past and present, and uses contemporary media to re-imagine new relationships between space, time, place and identity. He is particularly interested in giving visual form to marginalized communities and working with contested histories. In some projects Attie uses projections to re-animate sites with images of their lost histories, and then makes color photographs of these installations. More recently Attie has been creating immersive video installations for museums and galleries. shimonattie.net At Tower of the Fornicata, 2003. On-location slide projection, Rome, Italy, On-location Installation and 50 in by 60 in lambda photograph. Courtesy of Jack Shainman Gallery, NY.

Fabian Freese I walk the border between painting and photography, using one to augment the other in terms of visual interest. Normally I travel around and do shootings at different places like Rome, Florence, Munich, London, Luxembourg and especially at old castles and at the sea. Usually I do a time exposure with my camera to fix about 1 to 3 minutes per picture. After this I create an abstract composition with stripes and place them on the large prints using aluminum dibond plates. My work employs different materials such as varnish and foils. I apply these in varying degrees until I feel I’ve accomplished my goal of expressing something that I consider visually stunning. One of the main themes of my artwork involves contrast, such as that existing between old and modern technology.

Schloss Benrath 1, 2011. Varnish, foils, photo on alu dibond, 80 cm by 145 cm.

fabian-freese.de

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Annelies Ĺ trba

NYIMA 404, Edition 6, 2009. Pigment print on canvas, 49.25 in by 72.875 in. Courtesy of Jason McCoy Gallery, New York.

(b. 1947, Zug, Switzerland.) For over four decades, my family, especially my daughters and lately my grandchildren, have served as my main source of inspiration. Employing digital media and its various forms of manipulation, my photographs and films explore the passing of time, history, and the notion of a collective memory. Over time, my works have transformed into a highly personal chronicle of my immediate surroundings, including landscapes and places where I lived and people who have defined my physical and emotional life. It is a cosmology of sorts, part reflection and part fairy tale; the description of a world that seems to be equally rooted in the past as it is in the future. strba.ch

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Aydın Arkun While I use a variety of motifs in my works, I choose, as my main subject, the act of painting itself. I therefore consciously avoid insisting on the use of just one particular style. aydinarkun.com.tr

Untitled, 2012. Acrylic on canvas, 120 in by 80 in.

Michel Beaucage Michel Beaucage (b. 1958, Montréal, Canada). He completed a Master of Fine Arts at the Université du Québec à Montréal in 1990, and continued his education with a training period on carborundum engraving at Atelier Pasnic in Paris. A gestural painter who alternates between abstraction and figuration, Michel Beaucage has developed an original technique in which he combines rice paper with acrylic to create texture and infuse his work with transparency and fragility. For the past two decades, Michel Beaucage has presented his work every year in a solo or group exhibition in the United States, Europe or Asia. He made his first foray into China during the Beijing International Art Biennale in 2005, and has since incorporated oriental-inspired motifs and techniques into his art. His works are part of more than forty prestigious public and private collections, including the permanent collection of the National Art Museum of China. michelbeaucage.com

Le Grand Bleu, 2012. China ink and collages on rice paper.

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Ank ter Kuile

De Wereld Door (Through the World) – Bonjour Tristesse - Françoise Sagan, 2011. Mixed media from French newspapers, 100 cm by 40 cm.

Ank ter Kuile studied art in Paris, Enschede and Amsterdam.  Her paintings tell a personal story, evoke a unique atmosphere, and possess a distinctive character. These characteristics are expressed in the manner in which Ank composes each painting, treating it as an individual puzzle. She uses her imagination and emotions as a guide to select and combine the right puzzle pieces. galerienovia.nl

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Wilson Trouvé

Trembling Surface, 2012. 78 cm by 78 cm.

Wilson Trouvé subverts traditional notions of painting and sculpture, nullifies the third dimension where it exists and creates one where it’s missing. This process of destabilization through subversion of reference points and traditional categories also plays on ideas of contraction and dilation, impeded overflow, and excess. It also concerns desired moderation, although contradicted by immoderate gesture, discipline imposed on a universe of violence…Unless it’s the opposite: order jeopardized by the world’s entropy. Inside and outside are no longer perceived in a contradictory manner, Wilson Trouvé alludes to the famous statement by Breton that defined surrealism: It all leads one to believe that a certain place exists in the mind where life and death, real and imaginary, past and future, the expressible and inexpressible, high and low cease to be perceived contradictorily. wilsontrouve.com

Josh Blackwell My work combines familiar yet unlikely materials in order to reconfigure everyday experience. Thinking about the phenomenon of recycling and consumer agency led me to begin collecting plastic bags from kitchen cupboards and city streets seven years ago. Treading a precarious path between convenience and excess, the plastic bag’s degraded status and ubiquitous presence are fascinating to me. This series of works, titled Plastic Baskets, are made from found plastic bags which are fused together with heat. Exploring the physicality of color and texture, these hybrid objects are part collage, part sculpture, and part painting. joshblackwell.com Plastic Basket (Bent), 2012. Plastic bags, yarn, 13 in by 13 in by 0.25 in.

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Vânia Mignone

Untitled, 2010. Acrylic on MDF, 180.1 cm by 180.1 cm.

“What is interesting for Vânia Mignone is to restore to the image some sort of inadequacy, some inconvenience, denaturalizing perception. Art history is not the reference; the reference is, rather, a world saturated with images, without the time for seeing and letting itself be astonished. Her scenes and characters, despite being banal and commonplace, recover a strangeness that signals a frontier territory tethered between dream and reality, melancholy and gravity. The presence of scribbled words and numbers, as well as the articulated setting up of the paintings, brings forward a productive dialogue with the fragmentary and dispersive sensibility of today’s world.” –Luiz Camillo Osório vaniamignone.com.br

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Antoni Kowalski “Antoni Kowalski realizes his passion with great vocation. Painting is not only a kind of therapy for him, but also consumes him. Nowadays, one must be highly motivated to withstand the pressure of so-called art which brings aggression, banality and emptiness by media and publicity outlets. In his paintings, Kowalski creates a personal and intimate world that we discover with surprise. We immerse ourselves in this world of beauty and mysterious climate. While communing with his paintings, we are taken into their alternate reality. This restless world of mysterious forms creates strange auras shining through unearthly glows. We feel the breathing of these stone forms, streams of water, rustlings of drapery in layers on spiral columns...” Chinese Meditation, 2010. Oil on panel, 122 cm by 93 cm.

–Prof. Adam Myjak antonikowalski.art.pl

Isabelle Tuchband Isabelle Tuchband comes from a long line of artists. Destiny, DNA and mystery she calls it. Tuchband lives and works in São Paulo, Brazil. She has been painting over forty years—living through her art as she defines it—passing on her happiness, kindness and strength; feeding, praying, dancing and singing, painting...    isabelletuchband.com.br

Hommage à Yves Saint-Laurent, 2012. 95 cm by 60 cm.

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Graciela Cassel

Atriam City, 2012. Ink on Rives paper, 46 in by 33 in.

When alluding to an art concept, meanings may vary in gradients according to the spectator. The representation of an image is limited by its placement in a certain point in time and space. At the same time the ambiguity of a concept brings more meanings into place. The artistry is in making the pieces work together as one format. This is a collaboration between the person creating the piece and the one deciphering it; a reinvention, a part of a collective infrastructure that in its development will make bits and parts come all together. It is at the same time a part of a collective being unique. gracielacassel.com

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Ulrich Vogl

Nine Clouds and A Cage, Ed. 3+1, 2011. Cage, tin foil, string, wire, warming lamp, 97 cm by 40 cm by 67 cm.

The expression “extension of drawing” can be considered the leitmotiv of my artistic practice. While my overall topic would be the “extension of drawing”, the focus of the past years has been on “drawing and light,” working with shadows, reflections, movement and drawing. Many of these time-based works are playful and some are interactive. The balance between the object and the phenomena that they produce is important. I want to create a magic world—that works like a catalyzer to the viewer’s own thoughts- without ever hiding the simplicity of its creation. ulrich-vogl.de 110

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Natalie Waldburger

The Only One Here, 2011. Encaustic on panel, 40 in by 40 in.

As seen in the series: Folie à Deux, a condition in which two closely related persons, usually in the same family, share the same delusion. Implicit in the condition of Folie à Deux is the twin and a doubling of singular delusions. In this work, the condition is inverted—the madness of the single person, creates an illusion of twins. The folly thus lies in the delusion shared with these phantom siblings. These tightropes are crossed with some trepidation as they call into question a singular self-identity but they also muse on the nature of madness and companionship. nataliewaldburger.squarespace.com 111

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Dimitris Tataris

Untitled, 2010. Pencil on paper, 100 cm by 80 cm. Courtesy of CAN Christina Androulidaki gallery. Copyright of the artist.

Dimitris Tataris (b.1975) is a Greek artist primarily concerned with drawing and sculpture. His laborious and detailed process of drawing carries in itself a condition of hysteria, where the ink becomes a door to communicate addiction, dependence and obsession from the darkest corners of the mind into the paper surface. His drawings open up a window to an interior world composed by natural elements -wood, ropes, hair, animal hoofs- which nevertheless do not constitute a representation of the natural but a landscape of the irrational. Matter and the symbolic are diffused here. Self-portraits of the artist and forms of animals are usually the protagonists in these scenes and stand as the ultimate hope within an atmosphere of fear and threat of a world that parallel to the dissolution of the individual, collapses and is being decomposed. can-gallery.com  112

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António Alonso

Video Still from Paintings of the Round House Performance, 2012. Acrylic and enamel paint on silk, 1.40 m by 2.10 m.

António Alonso (b. 1960, Dalatando, Kuanza Norte-Angola) lives and works right outside the village of Barão de São João, in the borough of Lagos, Algarve. From Africa, he brought the aromas of the earth and the colors of the fruits—revealing within the translucent red of a Brazilian Cherry (Pitanga) there shines a rainbow. His return to Portugal in 1975 cut-short the glorious horizon—and adapting to his new home was hard. He came to stay first in Coimbra. The rich ochres and iron oxides of Africa gave way to shades of grey. Perhaps in order to hold on to the rainbow, Alonso began painting in 1978. With his paintings, António Alonso creates the hemisphere afresh, marked with all the geographical coordinates. To achieve this, he has had to travel. He says: ‘I go away, in order to return.’ antonioalonso.org

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Jonathan Schipper

Opposition: A Failure Of Direct Automation And Rock N Roll To Appease The Gods. 14 in by 12 in by 2 in.

Two participants are taken from the audience and buckled into the saddles on either end of the machine. The participants are then lifted into the air. A rock and roll band is playing electric instruments nearby. The amplification for the band is turned on by the machine while the machine is in the air. The band members (Outside Man) wear helmets that isolate the band, who can not hear anything other than their own sounds. After a few minutes the participants are brought back to the ground and released from the machine. The band is turned off and the machine is ready for the next cycle. Materials: steel, plastics, stainless steel, leather, pneumatics, webbing, and computer control system. oppositionart.com 114

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Bruno Pacheco

Tent, 2009. Oil on canvas, 140 cm by 170 cm. Courtesy Fundacao EDP.

Bruno Pacheco (b.1974, Lisbon, Portugal) lives and works between Lisbon and London. His solo exhibitions include: Uma história de Amor (2011), Chiado 8, Lisbon; ainda não (2009), Culturgest, Oporto, Portugal; We Did It / It’s True (2008), Hollybush Gardens, London and All together (2007), Culturgest, Lisbon. Group shows include: A Culpa Não É Minha (2010), Berardo Museum, Lisbon; East End Academy: The Painting Edition (2009), Whitechapel Gallery, London; Beijing Biennale (2008), National Art Museum of China, Beijing; New Contemporaries (2005), Barbican Gallery, London and Del Zero (2005), Fundação Marcelino Botín, Santander, Spain. His work is in the collections of the National Art Gallery, Beijing; Museu de Serralves, Oporto; CAM–Calouste Gulbenkian Foundation, Lisbon; Caixa Geral de Depósitos, Lisbon; UBS, London; Fundação Elídio Pinho, Oporto; PLMJ Collection, Lisbon; EDP Collection, Lisbon; and Lodeveans Collection, London among others. brunopacheco.info

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Index

Broccolichi, Pascal

83

Broisat, Benoit

25

Buczkowska, Dorota

13

Burch, Christina Burk, Amanda

52, 53 59

C

A

Campos, Rita Sobral

63

Aasvik, Therese

38

Carnahan, Susan

48

Aden, Menno

71

Cassel, Graciela

109

AJL

42

Ceulemans, Mil

98

113

Chaves, Marcos

74

Chen, Li

46

Alonso, António Antemann, Christina

70

Arkun, Aydin

104

Chernysheva, Olga

18

Attie, Shimon

102

Cincarevic, Bilyana

41

Collier, Tobias

81

Avery, Collin

95

B

D

Baade, Carrie Ann

89

Daga, Gunilla

56

Balanza, Eduardo

19

De Bock, Katy

18

Bargsten, Werner

93

de Ruiter-Hooykaas, Margo

39

Beaucage, Michel

104

Desplanques, Gilles

16

Beaufremez, Mireille

96

Dheedene, Stefaan

61

Beckman, Matthias

30

Bennett, Gordon

49

Berdaguer & Péjus

15

Betke, Wolfgang

88

Binder, Alexander Blackwell, Josh

97 106

Blasco, Isidro

92

Bø, Ole Martin Lund

97

Bothwell, Christina

68

E Eipper, Gerwin

37

Elena, Carla

66

Ellberg, Carin

67

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F

K

Feldt, Vigdis Elisabeth

96

Kacker, Vineet

82

Fin, Jorge

24

Kameric, Šejla

49

Forster, Richard

98

Kamma, Eleni

46

Freese, Fabian

102

Kessler, Mathias

86

Kilu

28

Klingberg, Gunilla

14

G

Koethen, Eva

101

Kowalski, Antoni

108

Ghelloussi, Karim

48

Kreuzritter, Helga

19

Gliubizzi, Daniel F.

76

Krug, Markus

23

Godoy, Gustavo

51

Kruithof, Anouk

43

Goiris, Geert

57

Kuert, Beat

90

González, Dionisio

36

Kuile, Ank ter

105

Gonzalez, Erik

85

Kumar, Ravi

Gözükara, Yeşim Meltem

40

Grudziecki, Michael

55

Gubbins, Francisco Bustamante

34

H

68

L Laramée, Guy Larsson, Bo Christian

10 8

Lazkoz, Abigail

17

Hardmeier, Barbara

38

Leiderstam, Matts

28

Harvey, Claire

24

Lewsey, Richard

29

Hasman, Merve

40

Lopez, Nicola

78

Hefuna, Susan

64

Luchkina, Yulia

67

Hernandez, Gregory Michael

37

Høltermand, Kim

86

Huzjan, Ištvan Išt

60

I Irjan, Moussin

99

M Mahdaoui, Naj

56

Mann, Evan

79

Märkl, Nina Annabelle

79

Markowitsch, Rémy

94

118

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Mater, Ahmed

11

Mayers, Annemarie

70

Meelker, Brenda

50

Meher, Monali

47

Messner, Philipp

52, 53

Micu, Ana Maria

17

Mignone, Vânia

107

Miljanovic, Mladen

72

Miracolo, Debbie

7

Mojadidi, Amen

21

Morales, Pedro

32

Mukhin, Igor

65

Murrow, Ethan

58

N Nalbandian, Frédérique

45

Neufeldt, Florian

22

Nuytemans, Sara

41

O op ten Noort, Verena Oschatz, Julia

Poljak, Renata

15

Q Qingsong, Wang Quinze, Arne

9 44

R Régent, Emmanuel

91

Rodwell, William

34

Roepstorff, Kristine

72

Ruhwald, Anders

82

Rüthemann, Kilian

61

S Schipper, Jonathan

114

Schwartz, Julia

78

Scruby, Rusty

64

89

Scurti, Franck

77

100

Noè Sendas

80

Shim, Dean

58

Smigla-Bobinski, Karina

84

South, Jane

22

P

Štrba, Annelies

Pacheco, Bruno

115

Paglen, Trevor

31

Palacios, Mariu

77

Berdaguer & Péjus

15

Pettena, Robert

75

Polanszky, Rudolf

80

Swart, Eric

103 59

T Tataris, Dimitris

112

119

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Tonev, Kosta

62

Treister, Suzanne

81

Trouvé, Wilson

106

Tuchband, Isabelle

108

Z Zenger, Yilmaz

73

Zupcu, Ion

33

U Uematsu, Takuma

27

V van der Velden, Margarita

69

van Meene, Hellen

20

van Stuijvenberg, Anna J.

26

Veermäe, Ivar

23

Vogl, Ulrich Vote, Melanie

110 12

W Waldburger, Natalie

111

Walperswyler, Frédéric

101

Waqif, Asim

54

Weber, Albert

6

Wright, Cindy

35

Weiner, Richard

88

Wischer, Wendy

57

Wölk, Anna

39

Wulia, Tintin

87

120

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The

New Collectors Book Second Edition

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The

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The New Collectors Book 2013  

Second Edition

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