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Park [Art Magazine] #03 - April 2012

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Crise, je t’aime: A longplay B-rated film.I.M.F., TROIKA, DEFICIT, RATING, FINANTIAL RESCUE, AUSTERITY ...If we didn’t knew it beforehand, we could be led to believe that the above-listed words were part of a script of any B category film, a low budget one and in which the underpaid actors and actresses, try at all costs to interpret poor dialogues between props and sets that have all seen better days.At the cry of "Action!", The actors resignedly obey.To enumerate over the following lines the reasons for which we’re dedicating Park’s 3rd issue to the theme “crisis” is a task doomed to failure at birth.This is only a brief and modest attempt to probe the way some artists approach the subject and the manner in which it is manifested in their artistic practice.Considering the form and content of submissions received, crisis often appears as a personal factor, the relationship of the self with the other and the world as a whole. In the arts, would be that instead of an inhibitor, this factor could be a catalyst for change, not the inconsequential, change, used and abused as a political slogan, but a concrete change in both mentality and attitudes, the resurgence of the sense of community and the process of sharing, the equitable distribution of wealth and access to justice.However, reality contradicts us, especially in a country that sees it’s cultural sector recently being demoted from a ministry to a feeble secretariat, in addition to a policy of blind cuts. Meanwhile, the masses get thicker. To the daily dose of (bad) news, one just needs to add a handful of reality shows and the inevitable reminder that ours, the previous and the generations to come already carry the heavy cross that goes under the name of “debt”.While this tragicomedy drags on, the end credits do not appear. The public stampede. No applause will be heard in this room.

Text of Park [Art Magazine] #03 - April 2012

Swoon (Marc Neys) Martina Grlic Marie Irmgard Ossi Piispanen Eberhard BossletCrise, je taime: Uma longa-metragem srie B.

03Abril | April 2012Crise, je taime: A longplay B-rated film. I.M.F., TROIKA, DEFICIT, RATING, FINANTIAL RESCUE, AUSTERITY ... F.M.I., TROIKA, DFICIT, RATING, RESGATE FINANCEIRO, AUSTERIDADE...

Piotr Kotlicki Weronika Trojanska

Editorial

Se no o soubssemos de antemo, podamosser levados a crer que as palavras acima enunciadas faziam parte de um qualquer guio de filme categoria B, de baixo oramento e no qual actores e actrizes, mal pagos, tentam a todo o custo interpretar dilogos intragveis entre cenrios e adereos que j viram melhores dias. Ao grito de Aco!, os resignados actores obedecem. Enumerar neste editorial os motivos que nos levam a dedicar o 3 nmero da Park ao tema crise uma tarefa priori condenada ao fracasso. Esta apenas uma breve e modesta tentativa de sondar o modo como os artistas a abordam e a forma segundo a qual esta se manifesta na sua prtica. Tendo em conta a forma e contedo das submisses recebidas, a crise surge muitas vezes como um factor pessoal, da relao do eu com o outro e com o mundo. No campo das artes, deseja-se que em vez de inibidor, este seja um factor catalisador de mudana, no a mudana inconsequente, usada e abusada sob a forma de slogan poltico, mas sim uma transformao efectiva de mentalidades e atitudes; do ressurgimento do sentimento de comunidade e partilha, da justa distribuio da riqueza e da acessibilidade justia. Porm, a realidade contradiz-nos, sobretudo num pas que v recentemente o sector da cultura ser despromovido de ministrio a secretariado, vendo-se ainda a braos com uma poltica de cortes cegos. Entretanto, as massas embrutecem. dose diria de (ms) notcias, acrescente-se uma mo-cheia de reality shows e o inevitvel lembrete de que a nossa, a anterior e as geraes por vir j carregam a pesada cruz a que decidiram chamar dvida. Enquanto esta tragi-comdia se arrasta, os crditos finais teimam em no aparecer. O pblico debanda. No vamos ouvir aplausos nesta sala

If

Jophel Ybiosa Diogo Rebelo Tnia Diniz Matt Collier Tina Hage Jayne Surrena

we didnt knew it beforehand, we could be led to believe that the above-listed words were part of a script of any B category film, a low budget one and in which the underpaid actors and actresses, try at all costs to interpret poor dialogues between props and sets that have all seen better days. At the cry of "Action!", The actors resignedly obey. To enumerate over the following lines the reasons for which were dedicating Parks 3rd issue to the theme crisis is a task doomed to failure at birth. This is only a brief and modest attempt to probe the way some artists approach the subject and the manner in which it is manifested in their artistic practice. Considering the form and content of submissions received, crisis often appears as a personal factor, the relationship of the self with the other and the world as a whole. In the arts, would be that instead of an inhibitor, this factor could be a catalyst for change, not the inconsequential, change, used and abused as a political slogan, but a concrete change in both mentality and attitudes, the resurgence of the sense of community and the process of sharing, the equitable distribution of wealth and access to justice. However, reality contradicts us, especially in a country that sees its cultural sector recently being demoted from a ministry to a feeble secretariat, in addition to a policy of blind cuts. Meanwhile, the masses get thicker. To the daily dose of (bad) news, one just needs to add a handful of reality shows and the inevitable reminder that ours, the previous and the generations to come already carry the heavy cross that goes under the name of debt. While this tragicomedy drags on, the end credits do not appear. The public stampede. No applause will be heard in this room.

No dia 25 de Setembro de 2011, sentiu a crise de um modo especial, no lhe apeteceu fazer o almoo e apanhou o metro at ao Corte Ingls, sua frente, estava sentada uma africana grvida a ler um livro, vestia uma saia verde, sapatos verdes, casaco verde e mala verde. Espreitou para ver se o titulo era verde e leu: Especial Sopa de Letras. Entrou no Corte Ingls e escolheu o menu fatia de pizza + bebida= 2,95. Nas mesas os velhotes lem o jornal e as velhotas olham simplesmente para o estado das coisas. No supermercado ningum faz compras e as meninas das caixas tm o olhar da Monalisa. Regressou a casa e no sabia o que fazer, (estava mesmo em crise), sentar-se, embrulharse num cobertor, comer chourio com po, fumar, trocar o stio de um obbjecto qualquer, lavar a loia que ficou desde ontem, sair, pegar num livro, telefonar sem saldo. Ligou a TV e as vozes dos polticos excitam-na, decide-se ento pela masturbao no sof. Foi interrompida por dois homens que tocavam na rua o Besame Mucho e atirou o euro pela janela.

On September the 25th 2011, she felt the crisis in a special way; didnt felt like making lunch and took the subway to the mall, in front of which sat a pregnant african woman reading a book, wearing a green skirt, green shoes, green coat and a green suitcase. She peeked to see if the title was "Green" and read: "Special Soup of Letters." She entered the mall and chose the slice of pizza + drink = 2.95 menu. As old men read newspapers old women just simply gaze the state of things. In the supermarket you shop one of the boxes and the girls have the look of the Monalisa. He returned home and did not know what to do, (it was even in crisis), sit down, wrap in a blanket, eating sausage with bread, smoking, changing the site of a obbjecto any, who was washing up since yesterday out, pick up a book, call out of funds. She turned the TV on to find that the voices of politicians aroused her, then decide by masturbation on the couch. Was interrupted by two men who played on the street Besame Mucho and she shot the euro through the window. Leonor Oliveira

#03 Maro/March 2012

#03 (Jayne Surrena)

DESIGN: Srgio Marques www.astigmatico.blogspot.com BLOG: Paulo Jesus www.pj-untitled.blogspot.com WEB: Bruno Mota www.bmota.netA Park gostaria de agradecer a todos os colaboradores que forneceram material para este nmero. Os artistas retm todos os direitos de autor sobre os trabalhos, a menos que surja nota especfica em contrrio. Estamos dispostos a corrigir qualquer erro ou omisso no prximo nmero. The publishers would like to thank everyone who has furnished information and materials for this issue. Unless otherwise noted, artists featured in PARK retain copyright to their work. The publishers will be pleased to correct any mistakes or omissions over the next issue. Park 2012

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Diogo Rebelowww.kimosabedesign.com Neste trabalho, a abordagem ao tema Crise foi feita atravs de uma dicotomia entre a crise financeira, a nvel geral e uma crise de valores e parmetros de felicidade, a um nvel pessoal. Vivemos hoje numa sociedade de consumo, tecnologicamente avanada no sentido de nos criar mais oportunidades a nvel de tempo de qualidade para desfrutar das nossas vidas. No entanto, a ideia de felicidade traduzida numa necessidade de adquirir produtos e tecnologias e so esquecidos por vezes os valores e os pequenos gestos que, no final, so os verdadeiros Tempos de crise so difceis. So tempo propcios a que estes valores sejam esquecidos e que as preocupaes acabem por ganhar mais importncia que a famlia, amizade, compaixo, ou amor. Este trabalho serve para relembra (-me) como exactamente nestas alturas que devemos abraar estes valores e perceber a sua real importncia. Espero com esta ilustrao, incentivar a uma reflexo sobre valores que so inatos, que crescem connosco, na nossa experincia e educao e que esto presentes quando tudo o resto nos tirado. Chegou a hora de perceber que os bens materiais de nada nos servem, que a busca incessante pelo consumo de nada serve, quando tudo o que precisamos amor e grtis! Para expressar a minha ideia tentei criar uma imagem de felicidade, simples: uma famlia que desfruta da companhia uns dos outros, em que todos partilham um momento de felicidade proporcionado apenas por eles. A famlia est em primeiro plano na ilustrao para ter o destaque que lhe devido, ao fundo, uma barraca que simboliza falta de bens materiais, assim como as roupas humildes que usam. uma famlia humilde, simples, mas uma simplicidade feliz. As cores so alegres, utilizei o verde bandeira para transmitir o elemento da esperana. Na barraca coloquei elementos inerentes crise, como retalhos de vrios temas, campanhas eleitorais, pedaos de um todo desfeito. A presena destes elementos servem para mostrar como certas decises nos pode retirar a qualidade de vida material mas que no final, cabe-nos a ns a deciso de deixar que nos tirem aquilo que nos faz mais feliz. Para a Crise, com amor

The approach to the theme Crisis was made by a dichotomy between the financial crisis, at a general level and, on a personal level, a crisis of values and happiness parameters. Were living in a consumer society these days, a technologically advanced one in order to create more opportunities in the level of quality time to enjoy our lives. However, the idea of happiness is translated into a need to acquire products and technologies and values and small gestures are often forgotten, the ones which ultimately are the real drivers of this happiness. Times of crisis are hard. Times in which these values are forsaken and day-to-day worries end up gaining more focus than family, friendship, compassion or love. This is a work that serves to remind (me) how its exactly during these times we should embrace these values and understand their real importance. My hopes with this illustration, are to encourage reflection on values that are innate, they grow within ourselves, in our experience and education and that are present when everything else is taken away. It's time to realize that material possessions serve us very poorly, that the incessant search for the consumption is of no use, when all you need is love and its free! To express my idea i tried to create a picture of hapiness, a simple one: a family enjoying the company of eachother, sharing a moment of hapiness themselves produced. The family occupies the most of the illustrations space so its highlighted the way it should, in the background, a shed symbolized the lack of material possessions, as so do the humble clothes theyre wearing. Its a simple, humble family, but happy. The colours are joyfull, flag green was used as to convey a feeling of hope. The shed incorporates some crisis related elements, like shreds of electoral campaigns. The presence of these elements serves the purpose of showing how some decisions can strip us from material goods but in the end, its ours the decision to let someone take us apart from what really makes us happy. For Crisis, with love

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Martina Grlicwww.martinagrlic.blogspot.com

nas vidas das pessoas, ao confrontar o pessoal (cenas de famlia) e o colectivo (famosos filmes de propaganda que mostravam as medidas a tomar em caso de guerra nuclear). Esta atmosfera de medo nuclear representada numa tela de grandes dimenses que representa uma acrobata a caminhar sobre uma corda. O jogo est ligado ao perigo, o lidar com o medo. Estas pinturas so pesadas ao mesmo tempo que lanam um comentrio humorstico sobre um tempo no muito distante, assim como na prpria condio humana. Alegria e esquecimento so necessrios para sobreviver; ignorara o perigo um mtodo para nor tornar-mos mais fortes preservar a sade. A ameaa de outrora torna-se num facto esttico do presente, similar ao negro fascnio com o conflito nuclear que podemos encontrar na pelcula Dr. Strangelove de 1964, numa altura em que o mundo estava de facto muito prximo de entrar numa guerra nuclear.

Martina Grlics paintings question the memory of a past era and its omnipresent fears in the lives of individuals confronting the personal(family scenes) and the collective(popular propaganda films prescribing cautionary measures in case of nuclear war).This atmosphere of nuclear fear is represented by a large canvas depicting an acrobat walking on a thin line. The game is connected with danger, ease with fear. These paintings are a dark but humorous commentary not only on times long gone but also on human condition itself. Joy and forgetting are necessary in order to survive ignoring danger is a method of endurance and preservation of our health. The threat of yesterday turns into an aesthetic fact of today, similar to the dark fascination with nuclear war which can be found in the 1964 black comedy Dr. Strangelove at a time when the world was in fact on the verge of nuclear war.

Atomic LandscapesLove the Bomb | oil on canvas, 170x140 cm, 2011

As pinturas de Martina Grlic questionam a memria de um tempo passado e o medo sempre presente

On a Wire | oil on canvas, 140x170 cm | 2011

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Survival Plan | oil on canvas, 180x150 cm | 2011

MARTINA GRLICBorn in Zagreb in 1982. Graduated in 2009 from the Academy of fine arts Zagreb, Department of Painting, mentored by prof. Zlatko Keser and Duje Juri.Participated in around ten group exhibitions since 2008. SOLO EXHIBITIONS 2011 'Atomic Landscapes', Gallery SC, Zagreb, Croatia GROUP EXHIBITIONS 2010 22nd Slavonija Biennale, Galler y Gluo, Osijek 45th Zagreb Salon, Gallery Prsten, Zagreb 30th Salon of Young art, Galler y Prsten, Zagreb Gallery Marisall, Women, Zagreb 2009

Duck and Cover | oil on canvas, 170x140 cm | 2011

GirlPower festival, Koprivnica Gallery Stancic, Zagreb 2008 Transfer Magije, Gallery Forum, Zagreb Dubrovnik summer festival, "Marinu Drzicu crtezom", Dubrovnik

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Marie Irmgardwww.marieirmgard.com

The Copenhagen Letters/ Je suis venu te dire que je m'en vais/ (Crisis, i love you)What a strange nurse you found for yourself [], it really doesnt seem like a very good idea [] but then again who I am to talk. To be smothered in all that stuff doesnt seem so good but in God we trust and maybe its good you have someone who can keep your pyromaniac tendencies in check [...] Ive got youve bad here in Copenhagen here, but then again I get lost in all those people whom Ive got so bad so hold your horses on that plane ticket. The strangest things has happened though actually two things; I have developed a fear of heights [], remember how I used to love them, actually it is not so strange but I will spare you that story, the other thing is that a couple a weeks or maybe months ago I saw a girl on a bike that kind of resembled our era [], strange to see such a girl in Copenhagen, she was on a bike so it was in passing, I was leaving an opening. [] so, husky eyes are still here [], I know she really broke his heart but he deserves it I think, he is always so lucky anyway [], I try hard not to be jealous [], anyway she had too much past for him, the Americans call it baggage like luggage [...] attempting to create images through words [...] is that possible? [...]Too much, much too young [], uh, but now we actually are old & I am so surprised of how many of us are still [], vive le weekend vs. the beast in me, the jury is still out on that one but the verdict is closer than it has ever been [...] beginning to feel like home, beginning to feel happy and blessed for the clear water running through the faucets, [...] M is really a great name even if she was always the prettier of you two []. I think about the desert often, I could go to one of those pyramid countries but Im not sure I would like it there; its too foreign & too noisy, but I should tell you what happened to everyone, but its hard to remember, some days I remember everything so clearly and I can watch it as a movie, other days its just gone. C has a big sneaker collection and a wealthy husband and []. Twinkle, mopeds and Melissa [] Black-SteelBrutus [] and rooftop summers [] but I digress again [] I always thought Manhattan was overrated [] I remember every word youve said though I try hard not to []. There are no fireflies in Denmark but the air is clean & I am supposed to appreciate that but every time I am in a parking garage I inhale the smell deep and miss home []. I took the best and the worst times and I always dance too long, while you always held up your head high and got the best boys even [] , you know he made a music video, gward it seems so outdated: music video but anyway he did, with little bunnies running around him, what an idiot but maybe he did it to seem taller? Two people or three people [] but I really want to have grandchildren so I sort of became my own chain gang there are no good in evil hearted woman and I aint cut out to be no Jesse James. [] I think the only time I ever liked D was the day he wore a red t-shirt and his eyes looked so sore like they were withholding tears, however it was just a brief glimpse, otherwise he was mostly a clich of himself [], so is J, he is so old now but he also was then, what an idiot chasing demented teenage girls then and still doing it now [], about D I blame it on the rain MilliVanilli-style [] but sometimes Im the sore one. [] and no guys wears big gold rings here apart from a few deviated criminals [] the day in the mountains was pathetic and made me feel very uncomfortable though Im sure he enjoyed it []. We are too old to run away [], hows your husband? Howre the children? [] Ave Maria and April snow [], I got tired of just playing bit parts so I retired, I rejected some leads [] that is too much responsibility and I dont ever want anyone [] again, whether it was really my fault or not [] it wasnt he was crazy []. I need a new phase; I miss your clearness and your razor sharp brightness in all this blurriness. To have a fresh feeling would be so good []. Polly-Meat and [] I do whatever I want, and mostly I want to walk alone []. Papa blank-expression goes around trying to cast spells but he isnt catching anyone. He is such a love-pervert and I cant really stand to see him []. Sanitary sanity that is a good thing but all my friends are so [] dirty and [] dont have money to buy new [], there are no surprises here []. [] do you know she married a businessman, how well of her [], no return [] and I have something in my eyes; [] most incriminating parts. I will see you soon or [] actually maybe [] - Je suis venu te dire que je m'en vais

Georgia | acrylic on canvas, 150x162 cm, 2011

Flesh World | acrylic on canvas, 200x180 cm, 2011 Count your Fingers JJ (D) | acrylic on canvas, 61x46 cm, 2011 >>>

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Eberhard Bosslet

www.bosslet.com/instant-sculpture.html www.bosslet.com/closed-circuit-comme.html

Eberhard Bosslet estudou na Academia de Artes de Berlim de 1975 a 1982. Desde 1997 professor de escultura e conceitos espaciais na Faculdade de Belas Artes de Dresden. No final dos anos 70, comeou a trabalhar com instalaes reforando as esculturas tridimensionais. A obra de Eberhard Bosslet abarca disciplinas to variadas como a pintura, escultura, instalao, interveno e fotografia. No inicio dos anos 80 comeou a interessar-se pela arquitectura de interiores e ao mesmo tempo, pelo conceito da interveno no espao ao ar livre. Isso permitiu a Bosslet desenvolver obras plsticas originais em torno dos conceitos de construo e casa, com exteriores e interiores, espaos pblicos e privados, que no geral contribuiram para cimentar a sua reputao artstica a nvel internacional.

Eberhard Bosslet has studied at Brelims Art Academy from 1975 to 1982. Hes a sculpture and spatial concepts since 1997 at Dresdens Fine Arts School. Since late 70s, began working with installations re-enforcing his sculptures. The work of Eberhard Bosslet spans such diverse disciplines such as painting, sculpture, installation, intervention and photography. In the 80s began to work with interior architecture and interventions in open spaces. That allowed Bosslet to develop original artworks around the concepts of home and construction, with exterior and interior, public and privat spaces, which contributed to solidify his reputation as an international artist.

Arte no espao pblico Escultura instantnea - Crculo de carrinhos de compras: Akquisition, Closed Circuit Commerce II, Consum Star Desde 1970 que fao esculturas com carrinhos de compra nos estacionamentos em frente de grandes centros comerciais, lojas de ferramentas, etc, ao transformar os carros/trolleys em estruturas novas e autnomas. Circle: 100 carrinhos de compras so encaixados para formar um crculo. Devem-se colocar os cadeados presos. Depois de reunir alguns carros, as pessoas no acreditam que se possa formar um crculo. Mas se reuniu 50 ou mais carros percebese que possvel. Precisa-se de cerca de 100 carros e 0 moedas. Vai precisar de cerca de 10m de dimetro. O crculo deve ser posicionado de uma forma que bloqueie ou desactive os espaos de estacionamento e respectivas ligaes.

Art in public space Instant sculpture - Shopping trolley circle : Akquisition, Closed Circuit Commerce II, Consum Star. Since 2007, I make sculptures in public spaces using shopping cart on the parking spaces in front of large shopping centers, hardware stores etc. by transforming the waiting carts/trolleys to new structures. Circle: 100 shopping carts are fitted together to form a circle. You must put the chains in the coinlock. Once you put together a few cars, people do not believe that one can form a circle. But if one has put together 50 or more cars you realize this will be possible. You need about 100 cars and no coins. You need about 10m in diameter space. The circle should be positioned in a way that it blockes or disables parking spaces and thoroughfares.

www.youtube.com/watch?v=8SIQ6cOx4ag&feature=related www.youtube.com/watch?v=dKWqKp_MGvE

Akquisition 33/77 steel, galvanized synthetic material |1x13x10,25 m, 2008

Consum Star Ostrale steel, galvanized synthetic material | 1,10x14,50 m, 2008

Global Circle Konsum | steel, galvanized synthetic material, cable binder | 108x6,25 m, 2008

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Closed Circuit Commerce I steel, galvanized synthetic material | 1x13x10,25 m, 2008

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Weronika Trojanskahttp://weronika-trojanska.blogspot.com

Universum Urania"The wind rose, and made an endelss howling, and with a swell of eight cubits. Only the mast broke it for me. Then the boat died."(The Tale of Sinuhe and Other Ancient Egyptian Poems, 1940 - 1640 B.C)

Fantasy is Toxis | mixed media, 2011

Libert | mixed media, 2010

Utopia | mixed media, 2011Education: 2005 2010 Academy of Fine Arts, Poznan, Poland M.A. in Fine Arts Faculty: Education of Art Art Criticism IX 2008 VI 2009 MASKA Theaters Make Up and Wig-making School (title: Make-Up Artist) , Poznan, Poland 10. 2007 02. 2008 Universitae Nationala de Arte, Bucharest, Romania Professional Experience: 05. 2011 - today assistant in Grimmuseum, Berlin, Germany intern in gallery G11, Berlin, Germany 05. 2011 intern in Zero Project Gallery, Berlin, Germany 01. 2010 internship in Museum of Modern Art, Ldz, Poland 02. 2011 internship in daily newspaper Gazeta Wyborcza in culture department 01. 2009 02. 2011 work as a waitress in cafe Czekolada and caf-restaurant Pracownia, Poznan, Poland 2008 2009 internship as a makeup artist in theater and opera Teatr Wielki, Poznan, Poland 2006 internship as a stylist in fashion magazine PANI, Warszawa, Poland Art Related Activities: 07.2011 Zellenbank. Internationale Gruppenausstellung, Gallery G11, Berlin, Germany 06 - 09 2011 Cabinet of curiosities, Lage Egal, Berlin, Germany 06. 2011 The Beauty of Minor Matter, Skalitzer 140_temporary, Berlin, Germany 03. 2011 Transaction combined; Academy of Fine Arts, Wroclaw, Poland 12. 2010 Project - Education of Art, Zamek Culture Center, Poznan, Poland 10. 1010 Seeing is forgetting (solo); Naprzeciw Gallery, Poznan, Poland 05.2010 Seeing is forgetting (solo); Muzalewska Gallery, Poznan, Poland Publication of articles about art and exhibitions

Universum Urania II | mixed media, 2011

Starting in 2010 and based in Oporto, Portugal, PARK [art magazine] is a joint project wichaims to bring together as many creative minds as possible, from different backgrounds and willing to share their work through a home-grown online and future printed publication dedicated to art and culture, making it's debut into the web as a digital online edition in the form of a flip mag as well as a downloadable PDF. The very anatomy of the magazine will hopefully rely on an ever growing list of contributors. We want to make it as diverse and challenging as possible.

www.parkmagazine.org

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Swoon (Marc Neys)www.swoon-bildos.be

Como toda a boa arte, o trabalho de Swoon transporta-nos para um estado particular. , ao mesmo tempo, um estado de ateno e devaneio, no qual o artista partilha connosco a sua prpria experincia intensa do momento, enviando-nos de seguida a produzir a nossa prpria investigao interna. Meditaes sobre a Natureza, Time Art, a condio humana e o custo espiritual da modernidade - estas so algumas das alturas vertiginosas que os ensaios audiovisuais de Swoon de propem a explorar. "Longing", como Heidegger o define, " a agonia da proximidade do distante". Algo desse tormento delicioso encontra-se nas densas tapearias, visuais e sonoras que encontramos nestas fotos e vdeos. Nas suas pinturas, miniaturas e filmes, Swoon vai dispondo camada sobre camada pilhas de informaes e sensaes fantasmagricas, vozes e pathos, ecoando memrias difusas, ao lado de fragmentos de sonhos semi-esquecidos, ou vidas. A sua viso sugere que pensar, ou sentir, por si s no suficiente. Ao rendermo-nos ao delrio da sua arte, como se nos submetssemos a um transe. Nesse estado, as suas obras de arte evocativas jogam precisamente com os nossos sistemas nervosos - deixando-nos mais sensibilizados para a fragilidade e indestrutibilidade, de todas as coisas".

"Like all good art, the work of Swoon transports us to a state.Curtain (from Not Again (Prypiat)) | video still | 2011

It is a state of attention and reverie at the same time, where the artist shares with us his own intense experience of the moment, and then sends us each on our own inner investigations. Meditations on Nature, Time, Art, the human condition, and the spiritual cost of modernity - these are some of the dizzy heights that Swoons audiovisual essays explore. Longing, as Heidegger defines it, is the agony of the nearness of the distant. Something of this delicious torment informs the dense visual and sonic tapestries found in these stills and videos. In his miniatures paintings and films, Swoon piles layer upon layer of information and sensation ghostly voices and pathos, echoing memor ys dizzy playground, alongside snatches of half-forgotten dreams, or lives. Swoon's vision suggests that it's not enough to think, or feel, alone. By surrendering to the delirium of his art, it is as though we submit to a trance. In this state, his evocative artworks play upon our very nervous systems - leaving us more sensitized to the frailty, and indestructibly, of all things."

Yahia Lababidi (writer of Fever Dreams , Crisis Chronicles Press ,2011 - Trial by Ink: From Nietzsche to Belly Dancing Common GroundPublishing, 2010, Signposts to Elsewhere - Jane Street Press, 2008)

Smoke (from The Stockholme Syndrom) | video still | 2011

www.vimeo.com/swoon

Video-art 2011 07 Selection of Unentitled for the Experimental film and video festival (D)FEFV (Krk, Croatia) 2011-07 Screening and selection of Words for the television program De Canvasminuut (Canvas, national Belgian television) 2011-04-30 Screening and selection of "Clouds" at "The West Virginia Mountaineer Short Film Festival" (Morgantown, USA) 2011-04-30 Screening and selection of Could it be at The one minutes Belgian open (Ghent, Belgium), category art and narration 2011-04-30 Publication of Words and introduction page in Tower Journal Spring edition 2011-04-26 First prize Moving Poems first videopoem contest 2011-03-26 Screening of Siren Song, Clouds, Shuttered Windows, and Not Yet at Arena Centrum voor beeldexpressie 2010- 2011 Selection of several video poems for the website Moving Poems Collaboration with the American poet H.K. Hummel Collaboration with the American poet Howie Good (author of several poetry chapbooks; three time nominee for a Puchcart Prize) Collaboration with Andrea Gibson for her poem Jellyfish Collaboration with the Egyptian American writer/poet Yahia Lababidi (Fever Dreams Crisis Chronicles Press, Ohio, 2011 ) Collaboration with the Belgian poet Marleen de Cre (Het is niet de lava Uitgeverij P,Leuven, 2010)

Skills Video-art (Image treatments, editing, image recycling, camera, soundscape composer) Theatre maker with Cie. Parallax (actor - director - writer - video) Education 1985 - present autodidact (Image treatments, editing, image recycling, camera, composer) 2004 - 2006 Theatre training (WISPER by Eva De Mulder) 1988 Introduction to modern theatre (by Frank Focketeyn)

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Jayne Surrenawww.jaynesurrena.net www.fakeice.blogspot.com

CollageChamo me Jayne Surrena, sou natural de Filadlfia, PA. Estudei na University of the Arts onde me licenciei em pintura, desenho e no ensino de artes visuais. Tenho vindo a expr o meu trabalho desde 2006 quando a galeria Bambi de Filadlfia mostrou interesse nas minhas colagens. Desde ento o meu trabalho j surgiu por 3 vezes em capas de revistas, na Art Basel Miami, em duas coleces museolgicas permanentes e em vrios concursos e exposies colectivas. Quando comeo novos projectos procuro porCourting | collage

Co age

inspirao naquilo que me rodeia . Trabalho em Educao Visual em escolas de Filadlfia, faco curadoria e pesquisa para exposies. No passado j trabalhei em galerias e casas de leiles.

My name is Jayne Surrena, Im from Philadelphia, PA. I studied at the University of the Arts where I received both my BFA in painting and drawing and MAT in the Visual Arts.

I have been showing my work since 2006 when a Philadelphia Gallery called Bambi was interested in my collages. Since then I have been featured on four magazine covers, Art Basel Miami, two museum permanent collections, multiple juried shows and group shows.As I work on new projects I look for inspiration through observation from my surroundings.Doctor | collage

I work in art education in Philadelphia schools, curate shows and research. In the past I have worked in galleries and auction houses.

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Education 2010 MAT in Visual Arts University of the Arts 2006 BFA in Painting and Drawing University of the Arts Awards, Grants & Fellowships University of the Arts Teaching Fellowship, 20082010 Upcoming Artist Grant, 20022006 Young Artist Grant, 20022006 Alumni Award in the Commitment and Progress of Painting, 2006 Publications Philadelphia Stories Anthology: Volume 2 Fall 2009 Philadelphia Stories, Best Of Fall 2009 Philadelphia Stories Summer 2009, Inclusion Philadelphia Stories Spring 2009, Inclusion Philadelphia Stories Fall 2007, Cover and Inclusion Obscurity Magazine Summer 2008, Inclusion Permanent Collections 2012 Collage Centennial-The IMCAC Permanent Collection Fort Worth, Texas 2009 Shah Alam Gallery - Permanent Collection, Malaysia Juried Exhibitions 2011 Nurture- Chelsea Museum of Art, NY 2010 Making It Alumni Show University of the Arts Auctions 2011 Philadelphia Stories Charity Auction 2009 Philadelphia Stories Charity Auction 2008 Inliquid Un - Zipped Auction 2006 Sasa! Sasa! Auction - Mascher Space Solo Exhibition 2006 Senior Thesis Solo Exhibition University of the Arts Group Exhibitions 2010 Art March- Villanova, PA Art Burn - Art Basel - Miami, FL 2009 Destination - University of the Arts Summer in the City - Projects Gallery 2006 Wax, Light and Lacquer - Bambi Gallery Senior Exhibition - University of the Arts The Human Pixel Project Venice, CA 2005 Cream of the Crop - Gallery One Student Exhibition - Siano Gallery Love/Hate - Gallery One Brown - University of the Arts 2004 Election - Gallery One

Gazing | collage

Featured Gawker.com http://tiny.cc/ttl4w Art Scene News http://tiny.cc/rs18d

Working Girl | collage

Improvement | collage

Gym | collage

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Education 2006-2009: Master in Fine Arts at Goldsmiths College, London, UK 2003: College of Fine Arts Sydney, Australia 1999-2004: Diploma in audio visual studies at the Academy of Media Arts, Cologne, Germany Solo exhibitions 2004: dial:ogee exhibited at the gallery Moltkerei Werkstatt, Cologne, Germany 2003: Erika exhibited at the gallery of the Academy of Media Arts, Cologne, Germany Group exhibitions 2011: The Wolfson Syndrom, The Modern Language Experiment, London, UK Simulacrum, Moon Galler y, Hong Kong The Big Picture, Illiterate Gallery, Denver, US 2010: Arbeit / Labour, Fotomuseum Winterthur, Switzerland Shift Work, Art Under The Westway, London, UK Deceit as part of the Hackney Wicked Festival, London, UK Down the road of Globalisation, The Crypt, St Martins in the Fields, London, UK Hell In A Handcart, Happening, Opposite 48 Hoxton Square, London, UK Bay View, Bay Gallery, London, UK Ways of Seeing, I-MYU Projects Gallery, London, UK 2009: Exposure, TAP, Southend on Sea, UK Two Positions, Thomas Rehbein Gallery, Cologne, Germany NEU/NOW online Festival, Vilnius, Lithuania Flexible Aura, Brain Factory, Seoul, Korea Jamais vu as part of the Hackney Wicked Festival, London, UK Goldsmiths College MFA Degree Show, London, UK KiC Nord Art 09, Buedelsdorf, Germany HackGold at The Triangle, Space, London, UK group/grope at Area10, London, UK 2007: Stopover at ADA Gallery, London, UK Pure Balls at 222 Space, London, UK Golden Mugs Project, Online curatorial project & auction 24h Fall-in-Theatre at the V22 Ashwinstreet, London,

UK 2006: VBI - Satellite of Love, in collaboration with ambient.tv as part of the 35th International Film festival, Rotterdam, Netherland 2005: City of Science, Bremerhaven, Germany 2004: Academy of Media Arts Presents, Trinitatis Kirche, Cologne, Germany DORKBOT, Ghent, Belgium 2003: Academy of Media Arts Presents, Trinitatis Kirche, Cologne, Germany 2002: The ShowCase, Screening at the Filmhaus, Cologne, Germany

Awards & Others 2010: Residency Program with LoBe - London Berlin Art Kunst, Berlin, Germany Plat(t)form 10, Fotomuseum Winterthur, Switzerland 2009: Wardens Purchase, Goldsmiths College, London, UK Shortlisted for the Red Mansion Prize 2006-07: Scholarship from the DAAD - German Academic Exchange Service 2005: Finalist for the VivaCity 2020 Exhibition Grant 2004-05: Scholarship at the Design Institute Bremerhaven, Germany 2003: Accepted for the exchange program at the College of Fine Arts, Sydney 2002-04: Scholarship from the Friedrich-NaumannFoundation Publications 2010: patricide 01, (book/print project), UK Catlin Guide, handbook for new British art in 2010, UK 2009: Flexible Aura, catalogue & curatorial project, Seoul/London Universial Pattern - Tina Hage, catalogue 2007: Interview with Amanda Lush in IM Newspaper, curatorial project, London, UK Collections Fotomuseum Winterthur, Switzerland Goldsmiths University of London, UK

UniverPatt IV (series) | color photography, 2011

Boot 02 | color photography, 2011

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Piotr Kotlickiwww.kotlicki.com

Wrrrr| 2011

Suitcreature (meadow) | oil on canvas, 2010

Suitcreature (street performance) | oil on canvas, 2011

Teachers almost agreed | 2011Piotr Kotlicki (1972) Polish artist. Graduated 2000 Academy of Fine Arts in Lodz, Poland. Diploma with distinction in R.Hunger studio. Currently works as assistant at State Film School in Lodz (PWSFTViT) at The Film and Television Directing Department. Group exhibitions: 2011 2010 2009 2008 "I Piotrkow Biennale of Art", ODA, Piotrkow Tryb., Poland "When parks becomes an arena, SURVIVAL 9-Art Review, Wroclaw, Poland "Kettle full of diamonds", Nachtspeicher23, Hamburg, Germany "Young Polish Art", National Gallery of Art, Sopot, Poland "Quadratkubikmeter hoch eins", Nachtspeicher23, Hamburg, Germany What can one see?, ODA, Piotrkow Tryb.,Poland "30 years of art on SieradzkaStreet", ODA, Piotrkow Tryb.,Poland Vien-Lodz, Artbook museum, Lodz, Poland "Back side of medal-Artists for Tybet," Gallery of Young Promotion, Lodz, Poland XXII Festival of the Polish Modern Painting, ZKPwS, Szczecin, Poland "The Grande Bouffe", GAZ, Lodz, Poland 2007 Upildyta erdve 3, Petro Kriau ino Vieoji Biblioteka, Mariampole, Lithuania Echange symetrique, Gnie de la Bastille, Paris, France Echange symetrique, Artbook museum, Lodz, Poland Two citys- four artistsStadt Gallery, Esslingen, Germany Piano-forte, Manhattan Gallery, Lodz, Poland Beyond the plan, Manhattan Gallery, Lodz, Poland Bests students of prof. Ryszard Hunger, Studio Theatre, Lodz, Poland

Suitcreature (museumof art) | oil on canvas, 33x24 cm, 2011

2002 2000 1999 1998

Individual exhibitions: 2010: 2009 2008 2004 2002 "Man jumping over", Galeria Baucka, Lodz, Poland "Painting", PWSFTiTv. Lodz. Poland "Searchings 2000-2008", BWA, Piotrkow Tryb.,Poland "Painting", MDK, Radomsko, Poland "Piotr Kotlicki", BWA, Piotrkow Tryb.,Poland

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Ossi Piispanenwww.piispanossi.comIdoubtweelmeetagain5 | color photography, 2011

Eu uso a fotografia para me expressar e a forma como vejo as pessoas e lugares claramente reflectida nas minhas imagens. Como forma de arte a fotografia interessante, pois mistura realidade e fico, obrigando a uma presena fsica para tirar a fotografia, mas o que decidires mostrar na imagem final o teu reflexo. A maioria do meu trabalho retrata momentos simples da minha vida, o meu trabalho uma interpretao do mundo ao meu redor e estou mais interessado no absurdo da vida quotidiana. Esse corpo de trabalhos foi concebido em Marselha, Frana, durante um workshop de trs semanas com Antoine D'Agata, o fotgrafo internacionalmente aclamado. Como fotgrafa retratista necessito constantemente de temas, objectos e assuntos para fotografar. Foi em Frana e por no conhecer ningum que criei "I Doubt Well Meet Again (Duvido Que Nos Voltemos a Encontrar)" um projecto que mistura o real, o absurdo e o emocional. As fotografias foram tiradas durante os encontros curtos com as pessoas que eu nunca tinha conhecido antes e as imagens resultantes so as minhas representaes desses mesmos encontros. Era-me importante obter acesso ao ambiente dos prprios sujeitos para forar, no s as minhas relaes sociais, mas tambm as minhas habilidades e processos criativos enquanto fotgrafa para os limites. A maioria das fotografias foram criadas de forma intuitiva e qualquer tipo de preparao era impossvel j que todos os sujeitos e respectivas habitaes eram diferentes entre si. Este corpo de trabalho produto da crise pela qual passava, enquanto me encontrava num novo ambiente. Alguns dos encontros foram emocionais, enquanto outros foram mais absurdos, isso dependia muito da ligao que entre ns houvesse, ou se nos compreendamos mutuamente. Muitas vezes senti que os meus prprios sentimentos eram expostos atravs do assunto da foto. Por vezes queria fugir do encontro, enquanto noutros momentos parecia que j conhecia a pessoa h bastante tempo.

I Doubt Well Meet AgainI use photography to express myself and the way I see people and places is clearly reflected in my images. As an art form photography is interesting because it mixes reality and fiction, physically you have to be there to take the photograph but what you decide to show in the final image is totally up to you. Most of my work depicts simple moments from my own life; my work is an interpretation of the world around me and I am most interested in the absurdity of everyday life. This body of work was conceived in Marseille in France during a three-week workshop with internationally acclaimed Antoine DAgata. As a portraiture photographer I am in constant need of subjects to take photographs of. In France not knowing anyone I created I doubt well meet again a project which mixes the real, the absurd and the emotional. The photographs were taken during short encounters with people I had never met before and the resulting images are my representations of these encounters. It was important for me to get access to the subjects own environment to push not only my social skills but also my creative skills to the limits. Most of the photographs were created intuitively and any preparation was impossible as all the subjects and their houses were different. This body of work is a product of the crisis I was going through when placed in a new environment. Some of the encounters were emotional, whilst others were more absurd, this depended on how much of a connection there was between us, or if we understood each other. Many times I felt that I exposed my own feelings through the subject. Often I wanted to escape from the encounter whilst at other times it felt like I had known the person for a long time.

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Idoubtweelmeetagain2 | color photography, 2011

Idoubtweelmeetagain9 | color photography, 2011

Idoubtweelmeetagain8 | color photography, 2011

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Education: 2011 Workshop with Antoine D'92Agata, France. Photography in the Arts (BA) Swansea Metropolitan University, UK 2007--] present, Shoe Design (BA) Hamk University of applied sciences, Finland 2006 Media Assistant (Vocational degree) Jyvaskyla College, Finland

Group Exhibitions: 2011 '91KL international photoaward 2011'92 '96 Kuala Lumpur '91Free Range Degree Show'92 '96 London '91Degree show'92 '96 Dynevor Campus, Swansea '91Jours Sombref--] Dynevor Campus, Swansea '91Workshop exhibition'92'96 Atelier De Visu, Marseille 2010 '91Our Summer'92 '96 Grand Theatre, Swansea '91DAFf--] London Design Festival '96 Dreamspace, London '912nd Year Degree Show'92 '96 Dynevor Campus, Swansea '91Opusculus'92 Book Exhibition '96 Y Lle Gallery, Swansea 2009 '91Timeless'92 Public Site--]Specific Exhibition, Swansea

Work Experience: 2011 Energy entertainment'96 Commercial video 2010 Fernando Korpi'96 product / campaign photography 2008 Press photography--] Hamk University of Applied Sciences

Idoubtweelmeetagain7 | color photography, 2011

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Jophel Ybiosa

05

07

06 01 08

01/04 - From Life at the Rio Grande de Mindanao series 05 - Reflection of Love 06 - The Childrens Play 07 - The Orphan Girl 08 - Childs Freedom 02-04

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Tnia Dinizwww.taniadiniz.com

Este projecto foi desenvolvido no Portugal dos Pequenitos, em Coimbra, fundado durante o fascismo, em 1940, para exaltar a presena dos portugueses no mundo, atravs de rplicas em pequena escala de casas e monumentos do pas e suas colnias. Em vez das fachadas do Imprio, esta srie centra-se nos interiores inglrios dos edifcios, muito semelhantes entre si, independentemente da sua tipologia ou perodo. A escala reduzida dos edifcios altera a percepo do observador, cujo olhar atravessa os diferentes pisos sem laje.

O Avesso do Imprio | fotografias digitais (srie) | (The Reverse of the Empire) | digital color photography (series), 2011

This was a project developed in Portugal dos Pequenitos (Little Portugal theme park), in Coimbra, founded in 1940, during the fascist era, to exalt the presence of the Portuguese in the world, through small-scale replicas of houses and monuments in the country and its colonies. Instead of the facades of the Empire, this series focuses on the inglorious interiors of buildings, very similar, irrespective of their type or period. The reduced scale of buildings alters the perception of the viewer, whose gaze goes through the different floors without slabs.

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Tnia Diniz nasceu em Lisboa, Portugal, em 1982. Cresceu em Macau, China. Frequentou a Escola Secundria Antnio Arroio e licenciou-se em Pintura pela Faculdade de Belas Artes da Universidade de Lisboa. Em 2007 foi para Londres, onde fez um Mestrado em Artes Plsticas na Central Saint Martins College of Art and Design. Presentemente vive e trabalha em Londres. Par ticipou em diversas exposies colectivas e individuais.

Tnia Diniz, born in Lisbon, Portugal, 1982. She grew up in Macau, China. Attended Antonio Arroyo High School and graduated in Painting from the Faculty of Fine Arts University of Lisbon. In 2007 went to London, where she became a Master of Fine Arts at Central Saint Martins College of Art and Design. Currently lives and works in London. Participated in several group and solo exhibitions.

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Matt Collierwww.pedroguimaraes.net

Estou a trabalhar numa srie de obras que espero que vejam como estando suficientemente relacionadas com o tema para entrar na prxima edio. Breve sumrio do contedo do trabalho: A "crise" no meu trabalho corporal. Tem a ver com as manipulaes que colocamos sobre o corpo nas instituies medicas e semelhantes. Muitas das minhas imagens explorar as possibilidades absurdo desses cenrios. Os elementos de desenho so derivados a partir das ilustraes sucintas que encontramos nas publicaes mdicas e anatomicas. Estas so justapostas com elementos mais violentos e processos mais acidentais. Pessoalmente, tenho tambem passado por alguns tratamentos mdicos que recentemente tm contribudo para os trabalhos e o contedo que lhes serve de base.

I am working on a series of works which I hope you see as relating to the theme enough to enter the next edition. Brief summery of the content of the work: The 'crisis' in the work I make is bodily. To do with the manipulations we put upon the body in the institutions of medical advancement and care. Many of my images explore the absurd possibilities of these scenarios. The drawing elements are derived from the clean illustrations of instructional medical and anatomical publications. These are juxtaposed with more violent or accident driven inputs. I have also personally gone through some medical treatments recently which have fueled the work and the content behind them.Stitching and Plugging Things Up | pen, ink on paper, 2011