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Este proyecto parte como solución a la cuarentena que estamos sufriendo, al tener Asma me veo totalmente forzado a trabajar dentro de casa. Siendo hiperactivo es una especie de condena. Siempre me gustó la idea de mezclar la fotografía con las diferentes artes. Lo que buscaba era lograr algo tridimensional en una bi-dimension y sugerir esa mirada microscópica o totalmente contraría, un escape al encierro, una cura a la cuarentena, al virus y a mí. Un escape abstracto al encierro mental…
Para ver más:
This proyect born as an answer to the quarantine, as an Asthmatic I'm really worried and forced to be inside home. I'm hiperactive too so been in this situation is a kind of confinement.
I always liked the idea of mix photography with diferents kind of visual arts. What I wanted was to get something tridimesional in a 2d image and sugest something microscopic or totally opossed like an abstract scape to the mental closure.
If you want to see more:
British Artist: Andrew Campbell: VisualBites:
Art Studio Studies: Portfolio Maquettes: #01-1000
Project-7: Netscapes+Subterfuge: iphone-sketchbooks:
#artforsocialmedia #AndrewCampbell
Artist Ref: www.andrew-campbell.com
British Artist: Andrew Campbell: VisualBites:
Art Studio Studies: Portfolio Maquettes: #01-1000
Project-7: Netscapes+Subterfuge: iphone-sketchbooks:
#artforsocialmedia #AndrewCampbell
Artist Ref: www.andrew-campbell.com
Genevieve Chua, born in 1984 in work Raised As a Pack of Wolves was Residency Programme at the Gyeonggi
Singapore, graduated with a Diploma in Fine Arts (Painting) from LASALLE College of the Arts, Singapore in 2004. Her works span a variety of mediums including drawing, photography and installation. Genevieve’s works possess distinctive aesthetic and recurring motifs of nature and female figures in dim light. Genevieve’s art explores the fear of the unknown.
For a young artist, Genevieve has exhibited extensively. Her solo exhibitions include As Brutal As (La Liberia Gallery, Singapore, 2007), Lost in the City: Full Moon and Foxes (National Museum of Singapore, 2009) and Child and the Beast (Objectifs Centre for Photography and Filmmaking, 2011). Genevieve has also exhibited overseas at ArtHK 2011 (AsiaOne ChanHampe Galleries, Hong Kong, 2011).
Genevieve was also selected to exhibit at the Singapore Biennale 2011 where she showcased Adinandra Belukar at the Old Kallang Airport. In 2009, her digital
commissioned for the M1 Singapore Fringe Festival. Other group exhibitions in which she has participated include CUT 2009: Figure, New Photography from Southeast Asia (Valentine Willie Fine Art, Kuala Lumpur, Malaysia, 2009), Next Wave Time Lapse (Federation Square, Melbourne, Australia, 2010) and Cross-Scape (Kumho Museum of Art, Seoul; Jeonbuk Museum of Art, Jeonju; Goeun Museum of Art, Busan, South Korea, 2011). Her work, After the Flood (2010), was sold by international auction house Sotheby’s and was exhibited at The Singapore Show: Future Proof (8Q Singapore Art Museum, 2012).
Genevieve constantly seeks to expand her practice and this has led her to participate in numerous residences locally and abroad. In 2010, she was selected for the BMW Young Asian Artist Series at the Singapore Tyler Print Institute and the Late Fall Residency at The Banff Centre in Calgary, Canada. In 2011, she took part in the GCC Creative
Creation Centre in Gyeonggi-do, South Korea and The Art Incubator at the Centre for Creative Communications in Shizuoka, Japan.
Genevieve Chua, born in 1984 in work Raised As a Pack of Wolves was Residency Programme at the Gyeonggi
Singapore, graduated with a Diploma in Fine Arts (Painting) from LASALLE College of the Arts, Singapore in 2004. Her works span a variety of mediums including drawing, photography and installation. Genevieve’s works possess distinctive aesthetic and recurring motifs of nature and female figures in dim light. Genevieve’s art explores the fear of the unknown.
For a young artist, Genevieve has exhibited extensively. Her solo exhibitions include As Brutal As (La Liberia Gallery, Singapore, 2007), Lost in the City: Full Moon and Foxes (National Museum of Singapore, 2009) and Child and the Beast (Objectifs Centre for Photography and Filmmaking, 2011). Genevieve has also exhibited overseas at ArtHK 2011 (AsiaOne ChanHampe Galleries, Hong Kong, 2011).
Genevieve was also selected to exhibit at the Singapore Biennale 2011 where she showcased Adinandra Belukar at the Old Kallang Airport. In 2009, her digital
commissioned for the M1 Singapore Fringe Festival. Other group exhibitions in which she has participated include CUT 2009: Figure, New Photography from Southeast Asia (Valentine Willie Fine Art, Kuala Lumpur, Malaysia, 2009), Next Wave Time Lapse (Federation Square, Melbourne, Australia, 2010) and Cross-Scape (Kumho Museum of Art, Seoul; Jeonbuk Museum of Art, Jeonju; Goeun Museum of Art, Busan, South Korea, 2011). Her work, After the Flood (2010), was sold by international auction house Sotheby’s and was exhibited at The Singapore Show: Future Proof (8Q Singapore Art Museum, 2012).
Genevieve constantly seeks to expand her practice and this has led her to participate in numerous residences locally and abroad. In 2010, she was selected for the BMW Young Asian Artist Series at the Singapore Tyler Print Institute and the Late Fall Residency at The Banff Centre in Calgary, Canada. In 2011, she took part in the GCC Creative
Creation Centre in Gyeonggi-do, South Korea and The Art Incubator at the Centre for Creative Communications in Shizuoka, Japan.
British Artist: Andrew Campbell: VisualBites:
Art Studio Studies: Portfolio Maquettes: #01-1000
Project-7: Netscapes+Subterfuge: iphone-sketchbooks:
#artforsocialmedia #AndrewCampbell
Artist Ref: www.andrew-campbell.com
Sagrado Feminino | performance para Bienal do Pilarzinho 2017 | Investigação | #artista #artistavisual #orixas #performanceritual #tantrismo #sangue #natural #terra #indios #performance #performanceart #fotografia #photography #naturegirl #sagradofeminino #liberdadedeexpressao #livre #amor #ventre #sagrado #imersao #pb #atelierdach #iansã #curitiba #RiodeJaneiro #artecontemporanea #contemporaryart #visualartist #art #artista
British Artist: Andrew Campbell: VisualBites:
Art Studio Studies: Portfolio Maquettes: #01-1000
Project-7: Netscapes+Subterfuge: iphone-sketchbooks:
#artforsocialmedia #AndrewCampbell
Artist Ref: www.andrew-campbell.com
British Artist: Andrew Campbell: VisualBites:
Art Studio Studies: Portfolio Maquettes: #01-1000
Project-7: Netscapes+Subterfuge: iphone-sketchbooks:
#artforsocialmedia #AndrewCampbell
Artist Ref: www.andrew-campbell.com
Model: Hayley W.
Hair & Make Up by Me
Styling & Creative Concept by Me
Photography & Post Processing by Me
FFX 2008 © florbela's fotographix
British Artist: Andrew Campbell: VisualBites:
Art Studio Studies: Portfolio Maquettes: #01-1000
Project-7: Netscapes+Subterfuge: iphone-sketchbooks:
#artforsocialmedia #AndrewCampbell
Artist Ref: www.andrew-campbell.com
The first offense of this painting is that it refuses beauty.
The naked body sprawled across the floor is not the obedient nude of academic tradition, arranged so that the eye may admire its proportions. It is flesh with nowhere to hide: swollen, slack, bruised by gravity, magnificently indifferent to the viewer’s desire. The body has been stripped of the last consolations of idealization. It does not pose. It collapses.
And yet the painting is not merely an exercise in ugliness. That would be too easy. Its violence comes from the collision between the nude and everything around her—the bed, the patterned blanket, the domestic furniture, the animal curled above her. Civilization continues its little rituals while the body lies below them like an inconvenient truth.
The seated woman is almost grotesquely composed by comparison. She occupies the chair with the solemnity of someone performing the ancient ceremony of femininity: dressed, contained, clothed in pattern and expectation. The blanket she is embroidering blooms with flowers and decorative forms, as though culture has been summoned to cover the dangerous fact of the body beneath it. Beside her, the naked woman has crossed the border between social person and physical organism.
Then there is the dog.
The dog sleeps on the bed with a privilege the human body below it does not possess. Its curled form is peaceful, almost luxurious. The animal belongs to the private world of instinct without shame. The nude, by contrast, has been made to seem scandalous precisely because she is human. We tolerate nakedness in animals because we do not ask them to pretend they are anything other than flesh.
This is where the painting becomes cruel.
It exposes the peculiar tyranny of the human body: we decorate it, discipline it, sexualize it, conceal it, worship it, and finally discover that none of these strategies can prevent it from becoming heavy. The body always wins. Beneath the dress, beneath the manners, beneath the erotic mythology, there is weight.
The room itself seems complicit. Its muddy colors and battered surfaces offer no transcendence. There is no theatrical heaven of Renaissance light, no perfume of bourgeois elegance. Everything is earthbound. Wood, fabric, plaster, skin, hair, animal fur: matter answering matter.
And perhaps that is why the painting is more erotic than a beautiful nude could ever be.
Eroticism does not necessarily reside in perfection. Sometimes it begins at the precise moment perfection fails. The idealized body invites consumption; this body demands confrontation. It possesses the terrifying eroticism of something alive enough to decay. One looks and feels the ancient human conflict between appetite and mortality: desire wanting the body, consciousness recoiling from what the body inevitably becomes.
The painting therefore does something unfashionable and almost obscene: it takes the female body seriously as matter.
Not as symbol.
Not as ornament.
Not as an invitation.
Not even principally as victim.
As matter.
And matter is democratic. It humiliates everyone eventually.
That is the painting’s deepest provocation. The woman on the floor is not merely an ugly body; she is the body after the fantasy has ended. She lies there with a strange, almost mythological grandeur, like some fallen goddess of gravity. The painting does not rescue her from humiliation. It makes humiliation monumental.
What could be more human?
“Evening in the Studio” oil-on-canvas, 1993
// Loana Ibarra, Louisiana Museum of Modern Art, -Lucian Freud – Everything is a Portrait-
(for English scroll down)
* Survival AIDS Mummification Transformation *
Neuen Gesellschaft für bildende Kunst (nGbK)
Berlin - 16. Februar 2014
Eine Performance von Hunter Reynolds
In Zusammenarbeit mit Goran Tomcic
Mitwirkende: Goran Tomcic | Rik Mayda | Frank Merz | Marcelo Alves
Seit 1999 hat Hunter Reynolds über 25 "Mumifizierungen" in ganz Europa und den Vereinigten Staaten durchgeführt. In Verbindung mit der aktuellen Ausstellung LOVE AIDS RIOT SEX II in der Neuen Gesellschaft für bildende Kunst (nGbK), Berlin, hat Reynolds die "Survival AIDS Mummification Transformation" performt.
Diese seltenen Performances sind körperlich und emotional zermürbend und gleichzeitig inspirierend - sie evozieren sowohl Wiedergeburt als auch Wiederauferstehung. Seit über zwanzig Jahren nutzt Reynolds Fotografie, Performance und Installation, um seine Erfahrungen als HIV-positiver schwuler Mann auszudrücken. Bei der Gestaltung der Mumienhaut wird er mit Goran Tomcic zusammenarbeiten.
Goran Tomcic ist ein Künstler und Schriftsteller. Er wurde 1964 im ehemaligen Jugoslawien geboren, ist kroatischer und US-amerikanischer Staatsbürger und lebt und arbeitet derzeit in Berlin. Er hat einen MA in Curatorial Studies vom Center for Curatorial Studies am Bard College (1996). Seit 2000 stellt er seine Kunst international aus und ist Empfänger des Pollock-Krasner-Stipendiums (2007). Seine Gedichte und Kunstkritiken wurden seit Mitte der 80er Jahre international veröffentlicht.
Hunter Reynolds ist bildender Künstler, AIDS-Aktivist und Mitglied von Visual AIDS Artist. Er war ein frühes Mitglied von ACT UP New York und war 1989 Mitbegründer von Art Positive, einer ACT-UP-Affinitätsgruppe zur Bekämpfung von Homophobie und Zensur in der Kunst. Reynolds' Arbeiten beschäftigen sich mit Fragen der Geschlechtsidentität, der politischen, sozialen und sexuellen Geschichte, mit Trauer und Verlust, Überleben, Hoffnung und Heilung. Einige seiner bekanntesten Performance-Projekte sind "The Patina du Prey's Memorial Dress"; die Dokumentation über Reynolds Memorial Dress war Teil von LOVE AIDS RIOT SEX I (nGbK, Nov 2013 - Jan, 2014), "The Drag Pose Series", "Blood Spot Series" und "Mummification Series". Er hat an großen Performance-Projekten wie "The Banquet" mit Chrysanne Stathacos und "I-Dea - The Goddess" mit Maxine Henryson mitgearbeitet.
Hunter Reynolds wurde mit zahlreichen Stipendien und Aufenthaltsgenehmigungen ausgezeichnet, darunter mehrere Pollock-Krasner-Preise. Er hat zahlreiche Einzelausstellungen gehabt, darunter: PPOW Gallery, Participant Inc., Hallwalls, Buffalo, NY; White Columns, New York, NY; Artist Space, New York, NY; Simon Watson Gallery, New York, NY; Creative Time, New York, NY; Momenta, Brooklyn, NY; Bernard Toale Gallery, Boston, MA; ICA Boston, Boston, MA; Yerba Buena Center for the Arts, San Francisco, CA; nGbK Berlin, Deutschland; und documenta, Kassel, Deutschland. Seine Werke befinden sich in zahlreichen öffentlichen und privaten Sammlungen, darunter das Chicago Art Institute, Yale und das Addison Andover. Die Fales Library and Special Collections/New York University hat kürzlich die Archive von Hunter Reynolds für ihre Downtown Collection erworben. Er wird von der PPOW Gallery vertreten.
"Kunst war schon immer eines der Mittel, die ich eingesetzt habe, um mich selbst und andere zu heilen und Ordnung in das Chaos meines Lebens zu bringen, indem ich nicht nur die Geschichte durch die Kunst erzählte, sondern mich selbst im Prozess des Schaffens verwandelte, indem ich sie nutzte, um mein Leben neu zu gestalten, Hoffnung und Schönheit zu finden und den Wunsch, lebendig zu sein." - Hunter Reynolds –
www.ppowgallery.com/artists/estate-of-hunter-reynolds#tab...
www.ppowgallery.com/exhibitions/hunter-reynolds2#tab:thum...
archiv.ngbk.de/projekte/love-aids-riot-sex-2/
____________________________________________________
* Survival AIDS Mummification Transformation *
New Society for Fine Arts (nGbK), Berlin - February 16, 2014
A performance by Hunter Reynolds
In collaboration with Goran Tomcic
Contributors: Goran Tomcic | Rik Mayda | Frank Merz | Marcelo Alves
Since 1999, Hunter Reynolds has performed over 25 "mummifications" throughout Europe and the United States. In conjunction with the current exhibition LOVE AIDS RIOT SEX II at the Neue Gesellschaft für bildende Kunst (nGbK), Berlin, Reynolds has performed the "Survival AIDS Mummification Transformation".
These rare performances are physically and emotionally grueling yet inspiring - evoking both rebirth and resurrection. For over twenty years, Reynolds has used photography, performance and installation to express his experiences as an HIV-positive gay man. He will be collaborating with Goran Tomcic on the design of the mummy skin.
Goran Tomcic is an artist and writer. He was born in 1964 in the former Yugoslavia, is a Croatian and US citizen and currently lives and works in Berlin. He holds an MA in Curatorial Studies from the Center for Curatorial Studies at Bard College (1996). He has exhibited his art internationally since 2000 and is a recipient of the Pollock-Krasner Fellowship (2007). His poetry and art criticism have been published internationally since the mid-1980s.
Hunter Reynolds is a visual artist, AIDS activist and member of Visual AIDS Artist. He was an early member of ACT UP New York and in 1989 co-founded Art Positive, an ACT UP affinity group to combat homophobia and censorship in the arts. Reynolds' work deals with issues of gender identity, political, social and sexual history, grief and loss, survival, hope and healing. Some of his best known performance projects include "The Patina du Prey's Memorial Dress"; the documentary about Reynolds Memorial Dress was part of LOVE AIDS RIOT SEX I (nGbK, Nov 2013 - Jan, 2014), "The Drag Pose Series", "Blood Spot Series" and "Mummification Series". He has collaborated on major performance projects such as "The Banquet" with Chrysanne Stathacos and "I-Dea - The Goddess" with Maxine Henryson.
Hunter Reynolds has been awarded numerous grants and residencies, including several Pollock-Krasner awards. He has had numerous solo exhibitions including: PPOW Gallery, Participant Inc, Hallwalls, Buffalo, NY; White Columns, New York, NY; Artist Space, New York, NY; Simon Watson Gallery, New York, NY; Creative Time, New York, NY; Momenta, Brooklyn, NY; Bernard Toale Gallery, Boston, MA; ICA Boston, Boston, MA; Yerba Buena Center for the Arts, San Francisco, CA; nGbK Berlin, Germany; and documenta, Kassel, Germany. His work is in numerous public and private collections, including the Chicago Art Institute, Yale, and the Addison Andover. The Fales Library and Special Collections/New York University recently acquired Hunter Reynolds' archives for their Downtown Collection. He is represented by PPOW Gallery.
"Art has always been one of the tools I have used to heal myself and others and bring order to the chaos of my life, not only telling the story through art, but transforming myself in the process of creating, using it to reshape my life, finding hope and beauty and the desire to be alive." - Hunter Reynolds –
www.ppowgallery.com/artists/estate-of-hunter-reynolds#tab...
www.ppowgallery.com/exhibitions/hunter-reynolds2#tab:thum...
British Artist: Andrew Campbell: VisualBites:
Art Studio Studies: Portfolio Maquettes: #01-1000
Project-7: Netscapes+Subterfuge: iphone-sketchbooks:
#artforsocialmedia #AndrewCampbell
Artist Ref: www.andrew-campbell.com
Kingshurst Library
Solihull
Maker: Lina Peterson
Graduate Placement: Viv Wilson
Lina Peterson’s residency was based at Kingshurst
Library in the north of Solihull as part of a project to
increase community involvement in the arts. Lina is a
jeweller who uses a playful approach to materials, colour
and form backed up by research and drawing. She used
her experimental methods with the group to create
dramatic jewellery using leather, wire and felt. Lina was
supported by Viv Wilson, a textile graduate who has
developed a woven piece in response to the landscape
around Kingshurst.
Lina Peterson’s residency was based at Kingshurst
Library in the north of Solihull as part of a project to
increase community involvement in the arts. Lina is a
jeweller who uses a playful approach to materials, colour
and form backed up by research and drawing. She used
her experimental methods with the group to create
dramatic jewellery using leather, wire and felt. Lina was
supported by Viv Wilson, a textile graduate who has
developed a woven piece in response to the landscape
around Kingshurst.
We're going down to Cartagena, where the Mediterranean has been washing the same stones for thousands of years, and where, in 1907, a girl named Carmen Conde came into the world.
Sometimes a poet is born in a city, and sometimes a city is born again inside a poet. Carmen Conde was one of those poets. She wrote about love, memory, loneliness, the body, time — that old outlaw time that robs everybody sooner or later and never gets caught. She wrote poetry, but she also wrote novels, plays, essays, and radio scripts. She was a teacher, an intellectual, a woman trying to make a place for her voice in a century that had plenty of room for men's voices and not always so much room for hers.
In 1967 she won Spain's National Poetry Prize. And in 1978 she was elected to the Royal Spanish Academy, becoming the first woman to occupy a seat there. Now, you might think that would settle the matter. You get the prize. You get the chair. You get your name in the books. But poets don't live in books. They live in the things that won't leave you alone.
Carmen Conde spent a lifetime writing about memory, and memory is a peculiar animal. You think you've buried something, and ten years later it comes walking back through the kitchen at three in the morning, wearing your mother's face.
She called one of her great works Mujer sin edén — Woman Without Eden. That's a pretty good title for the twentieth century.
A woman without Eden.
A woman without the garden.
A woman looking at the locked gate and wondering who gave the keys to somebody else.
Conde's poetry carried the experience of women into places where women had too often been treated as subjects instead of voices. And she wasn't interested in making that voice polite. Her poetry could be sensual, wounded, mystical, fierce. The world in her poems isn't a quiet Sunday afternoon. It's a world where the dead are still breathing somewhere inside memory, where desire and loss sit at the same table.
And here's another thing about Carmen Conde: She understood radio. She worked in radio. She wrote for it. She understood that a voice coming through a speaker can become a kind of ghost — you can't see it, but there it is, sitting in the room with you. I guess radio is just another form of memory. A voice enters the room. You don't see the person. You don't know where the voice has been. But for a few minutes, it's there with you.
Carmen Conde died in 1996. But death has never been much of an argument against poetry. The poet disappears. The voice doesn't. And somewhere today, in a room beside the Mediterranean, or in a library where somebody has opened an old book, Carmen Conde is still doing what poets do best: refusing to stay where history put her.
Women without Edens. Poets without permission. Voices that kept talking after the door was closed.
—
-Esperar es peor que nacer-
Esperar es peor que nacer,
porque solamente espera el que se muere
de esperar sin hacerse con la vida
otra cosa que esperar. El esperarte.
Y atada a esa tu espera que me gasta
y que gasta tu vida sin traerte,
aquí me estoy muriendo de ansiedades
porque cabe, tremenda, esta esperanza.
Cada día, ¡oh tú que te retrasas!
sin saber que nos vamos alejando,
es menor la distancia irreparable
de pensar, de esperar, que nos aleje.
Y aquí sigo esperando, nada intento
por huir al tormento de tu espera.
Ya no sé si allá fuera de mi vida
quedan otros o no, queda quien ande!
solamente por ti, por cuando llegues,
a solas esperándote te espero.
//1945
——
-Waiting Is Worse Than Being Born-
Waiting is worse than being born,
because only one who is dying
waits without making of life
anything other than waiting. Waiting for you.
And bound to this waiting of yours
that wears me down,
that wears away your life without bringing you to me, here I am dying of longing,
because this hope is vast, unbearable.
Each day, oh you who are late in coming!
unaware that we are drifting farther apart,
the unbridgeable distance grows smaller—
the distance of thinking, of waiting, that keeps us apart.
And here I remain, waiting, attempting nothing
to escape the torment of waiting for you.
I no longer know whether, outside my life,
there are others left, whether anyone still walks!
Only for you, for when you arrive,
alone, waiting for you, I wait.
//1945
—
ink, watercolor on paper
contact ibarraloana@gmail.com lo
তীব্র রেখার বাহানা এ পর্যায়ে একটি চমৎকার ছবি হয়ে ওঠে
The text written on the image can be roughly translated as,
"The excuse of passionate lines become A NICE image, at this stage."
Genevieve Chua, born in 1984 in work Raised As a Pack of Wolves was Residency Programme at the Gyeonggi
Singapore, graduated with a Diploma in Fine Arts (Painting) from LASALLE College of the Arts, Singapore in 2004. Her works span a variety of mediums including drawing, photography and installation. Genevieve’s works possess distinctive aesthetic and recurring motifs of nature and female figures in dim light. Genevieve’s art explores the fear of the unknown.
For a young artist, Genevieve has exhibited extensively. Her solo exhibitions include As Brutal As (La Liberia Gallery, Singapore, 2007), Lost in the City: Full Moon and Foxes (National Museum of Singapore, 2009) and Child and the Beast (Objectifs Centre for Photography and Filmmaking, 2011). Genevieve has also exhibited overseas at ArtHK 2011 (AsiaOne ChanHampe Galleries, Hong Kong, 2011).
Genevieve was also selected to exhibit at the Singapore Biennale 2011 where she showcased Adinandra Belukar at the Old Kallang Airport. In 2009, her digital
commissioned for the M1 Singapore Fringe Festival. Other group exhibitions in which she has participated include CUT 2009: Figure, New Photography from Southeast Asia (Valentine Willie Fine Art, Kuala Lumpur, Malaysia, 2009), Next Wave Time Lapse (Federation Square, Melbourne, Australia, 2010) and Cross-Scape (Kumho Museum of Art, Seoul; Jeonbuk Museum of Art, Jeonju; Goeun Museum of Art, Busan, South Korea, 2011). Her work, After the Flood (2010), was sold by international auction house Sotheby’s and was exhibited at The Singapore Show: Future Proof (8Q Singapore Art Museum, 2012).
Genevieve constantly seeks to expand her practice and this has led her to participate in numerous residences locally and abroad. In 2010, she was selected for the BMW Young Asian Artist Series at the Singapore Tyler Print Institute and the Late Fall Residency at The Banff Centre in Calgary, Canada. In 2011, she took part in the GCC Creative
Creation Centre in Gyeonggi-do, South Korea and The Art Incubator at the Centre for Creative Communications in Shizuoka, Japan.
1946, Tokyo, Japan --- A Japanese tattoo artist works on the back of a woman. --- Image by © Horace Bristol/CORBIS
British Artist: Andrew Campbell: VisualBites:
Art Studio Studies: Portfolio Maquettes: #01-1000
Project-7: Netscapes+Subterfuge: iphone-sketchbooks:
#artforsocialmedia #AndrewCampbell
Artist Ref: www.andrew-campbell.com
Genevieve Chua, born in 1984 in work Raised As a Pack of Wolves was Residency Programme at the Gyeonggi
Singapore, graduated with a Diploma in Fine Arts (Painting) from LASALLE College of the Arts, Singapore in 2004. Her works span a variety of mediums including drawing, photography and installation. Genevieve’s works possess distinctive aesthetic and recurring motifs of nature and female figures in dim light. Genevieve’s art explores the fear of the unknown.
For a young artist, Genevieve has exhibited extensively. Her solo exhibitions include As Brutal As (La Liberia Gallery, Singapore, 2007), Lost in the City: Full Moon and Foxes (National Museum of Singapore, 2009) and Child and the Beast (Objectifs Centre for Photography and Filmmaking, 2011). Genevieve has also exhibited overseas at ArtHK 2011 (AsiaOne ChanHampe Galleries, Hong Kong, 2011).
Genevieve was also selected to exhibit at the Singapore Biennale 2011 where she showcased Adinandra Belukar at the Old Kallang Airport. In 2009, her digital
commissioned for the M1 Singapore Fringe Festival. Other group exhibitions in which she has participated include CUT 2009: Figure, New Photography from Southeast Asia (Valentine Willie Fine Art, Kuala Lumpur, Malaysia, 2009), Next Wave Time Lapse (Federation Square, Melbourne, Australia, 2010) and Cross-Scape (Kumho Museum of Art, Seoul; Jeonbuk Museum of Art, Jeonju; Goeun Museum of Art, Busan, South Korea, 2011). Her work, After the Flood (2010), was sold by international auction house Sotheby’s and was exhibited at The Singapore Show: Future Proof (8Q Singapore Art Museum, 2012).
Genevieve constantly seeks to expand her practice and this has led her to participate in numerous residences locally and abroad. In 2010, she was selected for the BMW Young Asian Artist Series at the Singapore Tyler Print Institute and the Late Fall Residency at The Banff Centre in Calgary, Canada. In 2011, she took part in the GCC Creative
Creation Centre in Gyeonggi-do, South Korea and The Art Incubator at the Centre for Creative Communications in Shizuoka, Japan.
Jane Rogers the 59 year old UK novelist and teacher, best known for her novel ‘Mr Wroe's Virgins and The Voyage Home’ has won the Arthur C. Clarke Award for science fiction, for her first novel in the science fiction genre ‘The Testament of Jessie Lamb’, a narration by a fictional teenager. The award director Tom Hunter, stated "It wasn't an obvious Arthur C Clarke winner – it's not from a science fiction publisher but from a small Scottish press. But I don't think anyone was surprised it was nominated. It really is a very good book and it has found a real audience in the science fiction readership, it offers a route into dealing with quite serious issues, about science, about maternity and about making choices." Described by Alison Flood in The Guardian as a “vision of a world crippled by biological terrorism… Taking place in a world in which a deadly virus, Maternal Death Syndrome, affects all pregnant women, putting the future of the human race in jeopardy, The Testament of Jessie Lamb is the story of one 16-year-old who decides she wants to save humanity. She volunteers for a programme in which she will be injected with an immune embryo, but also put into a coma from which she will not recover.”
Este proyecto parte como solución a la cuarentena que estamos sufriendo, al tener Asma me veo totalmente forzado a trabajar dentro de casa. Siendo hiperactivo es una especie de condena. Siempre me gustó la idea de mezclar la fotografía con las diferentes artes. Lo que buscaba era lograr algo tridimensional en una bi-dimension y sugerir esa mirada microscópica o totalmente contraría, un escape al encierro, una cura a la cuarentena, al virus y a mí. Un escape abstracto al encierro mental…
Para ver más:
This proyect born as an answer to the quarantine, as an Asthmatic I'm really worried and forced to be inside home. I'm hiperactive too so been in this situation is a kind of confinement.
I always liked the idea of mix photography with diferents kind of visual arts. What I wanted was to get something tridimesional in a 2d image and sugest something microscopic or totally opossed like an abstract scape to the mental closure.
If you want to see more:
Genevieve Chua, born in 1984 in work Raised As a Pack of Wolves was Residency Programme at the Gyeonggi
Singapore, graduated with a Diploma in Fine Arts (Painting) from LASALLE College of the Arts, Singapore in 2004. Her works span a variety of mediums including drawing, photography and installation. Genevieve’s works possess distinctive aesthetic and recurring motifs of nature and female figures in dim light. Genevieve’s art explores the fear of the unknown.
For a young artist, Genevieve has exhibited extensively. Her solo exhibitions include As Brutal As (La Liberia Gallery, Singapore, 2007), Lost in the City: Full Moon and Foxes (National Museum of Singapore, 2009) and Child and the Beast (Objectifs Centre for Photography and Filmmaking, 2011). Genevieve has also exhibited overseas at ArtHK 2011 (AsiaOne ChanHampe Galleries, Hong Kong, 2011).
Genevieve was also selected to exhibit at the Singapore Biennale 2011 where she showcased Adinandra Belukar at the Old Kallang Airport. In 2009, her digital
commissioned for the M1 Singapore Fringe Festival. Other group exhibitions in which she has participated include CUT 2009: Figure, New Photography from Southeast Asia (Valentine Willie Fine Art, Kuala Lumpur, Malaysia, 2009), Next Wave Time Lapse (Federation Square, Melbourne, Australia, 2010) and Cross-Scape (Kumho Museum of Art, Seoul; Jeonbuk Museum of Art, Jeonju; Goeun Museum of Art, Busan, South Korea, 2011). Her work, After the Flood (2010), was sold by international auction house Sotheby’s and was exhibited at The Singapore Show: Future Proof (8Q Singapore Art Museum, 2012).
Genevieve constantly seeks to expand her practice and this has led her to participate in numerous residences locally and abroad. In 2010, she was selected for the BMW Young Asian Artist Series at the Singapore Tyler Print Institute and the Late Fall Residency at The Banff Centre in Calgary, Canada. In 2011, she took part in the GCC Creative
Creation Centre in Gyeonggi-do, South Korea and The Art Incubator at the Centre for Creative Communications in Shizuoka, Japan.
A Glitch “Cárites (Χάριτες) ~ Ètude VIII”
by ™℗®© Louis M o n t i e l
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British Artist: Andrew Campbell: VisualBites:
Art Studio Studies: Portfolio Maquettes: #01-1000
Project-7: Netscapes+Subterfuge: iphone-sketchbooks:
#artforsocialmedia #AndrewCampbell
Artist Ref: www.andrew-campbell.com
*Loana Ibarra dör (dies)*
She left behind an Animita - a house for the soul and a portal for you to her immortal person.
If you've got the chance go to Malmö Live and experience Loana's Animita in live version.
The Animita is made of wood and she is 2m tall.
The house 1m x 1m.
Experience the symbols, the different techniques and materials as embroidery, hair, the hundreds handmade paper flowers and of course the roof.
You will not regret!
Fragments will be published during some days en el Instagram.
Coming soon here too!
Go and check it out!
instagram loanaibarra
twitter twitter.com/LoanaIbarra
facebook www.facebook.com/LIM.LoanaIbarraMazari
26 October - 1 November
Malmö Live
Dag Hammarsköljds torg 4, Malmö
Animitas is a project for Malmö Live in cooperation with Little Finger.
British Artist: Andrew Campbell: VisualBites:
Art Studio Studies: Portfolio Maquettes: #01-1000
Project-7: Netscapes+Subterfuge: iphone-sketchbooks:
#artforsocialmedia #AndrewCampbell
Artist Ref: www.andrew-campbell.com
Genevieve Chua, born in 1984 in work Raised As a Pack of Wolves was Residency Programme at the Gyeonggi
Singapore, graduated with a Diploma in Fine Arts (Painting) from LASALLE College of the Arts, Singapore in 2004. Her works span a variety of mediums including drawing, photography and installation. Genevieve’s works possess distinctive aesthetic and recurring motifs of nature and female figures in dim light. Genevieve’s art explores the fear of the unknown.
For a young artist, Genevieve has exhibited extensively. Her solo exhibitions include As Brutal As (La Liberia Gallery, Singapore, 2007), Lost in the City: Full Moon and Foxes (National Museum of Singapore, 2009) and Child and the Beast (Objectifs Centre for Photography and Filmmaking, 2011). Genevieve has also exhibited overseas at ArtHK 2011 (AsiaOne ChanHampe Galleries, Hong Kong, 2011).
Genevieve was also selected to exhibit at the Singapore Biennale 2011 where she showcased Adinandra Belukar at the Old Kallang Airport. In 2009, her digital
commissioned for the M1 Singapore Fringe Festival. Other group exhibitions in which she has participated include CUT 2009: Figure, New Photography from Southeast Asia (Valentine Willie Fine Art, Kuala Lumpur, Malaysia, 2009), Next Wave Time Lapse (Federation Square, Melbourne, Australia, 2010) and Cross-Scape (Kumho Museum of Art, Seoul; Jeonbuk Museum of Art, Jeonju; Goeun Museum of Art, Busan, South Korea, 2011). Her work, After the Flood (2010), was sold by international auction house Sotheby’s and was exhibited at The Singapore Show: Future Proof (8Q Singapore Art Museum, 2012).
Genevieve constantly seeks to expand her practice and this has led her to participate in numerous residences locally and abroad. In 2010, she was selected for the BMW Young Asian Artist Series at the Singapore Tyler Print Institute and the Late Fall Residency at The Banff Centre in Calgary, Canada. In 2011, she took part in the GCC Creative
Creation Centre in Gyeonggi-do, South Korea and The Art Incubator at the Centre for Creative Communications in Shizuoka, Japan.
Will algae farms be the farms of the future? Can washed-up jellyfish be repurposed to make a durable material? Are algae the solution for clean energy harvesting? Through performance and talks, we explored aquatic life in the framework of harvesting. Sound and visual artist Sabina Ahn, designer Charlotte van Alem and researcher Dr. Ben van den Broek contemplated these questions and more.
www.mediamatic.net/en/aquatic-harvesting
Photography by Anisa Xhomaqi
British Artist: Andrew Campbell: VisualBites:
Art Studio Studies: Portfolio Maquettes: #01-1000
Project-7: Netscapes+Subterfuge: iphone-sketchbooks:
#artforsocialmedia #AndrewCampbell
Artist Ref: www.andrew-campbell.com