The art space of documenta fifteen

© documenta fifteen 2022

The art space of documenta fifteen

By Christiane Wagner

The current edition of one of the most renowned contemporary art exhibitions, documenta fifteen, opened its doors to the public, questioning: “In light of the alarming consequences of climate change worldwide, how can a globally oriented art exhibition that attracts visitors from all over the world and lasts 100 days minimize harm to the environment and, at the same time, be economically and socially fair?” In this sense, it is essential to put into practice the principles of sustainability, which involves social, political, and economic aspects in search of a balanced and fair development that can be sustained. Also, the ethical notions that should be considered as core values regarding interculturality and its moral and political impacts on individuals and society. documenta fifteen highlights the non-Eurocentric view. For this purpose, documenta fifteen is curated by Ruangrupa, a non-profit organization based in Jakarta, Indonesia, to promote artistic ideas in urban and cultural contexts by involving artists and other disciplines such as social sciences, politics, technology, and media, to open critical reflections and perspectives on contemporary urban problems. The Indonesian word “ruangrupa” means “art space” or “spatial form.”

Ruangrupa was unanimously selected by the documenta fifteen international commission in 2019. This decision was justified, among other important issues, in the essence of the collective work: “At a time when innovative power emanates in particular from independent, collaborative organizations, it seems logical to offer this collective approach a platform in the form of documenta.” The international committee of documenta fifteen is represented by Frances Morris, Amar Kanwar, Philippe Pirotte, Elvira Dyangani Ose, Ute Meta Bauer, Jochen Volz, Charles Esche, and Gabi Ngcobo.

In this sense, documenta presents its fifteenth edition of contemporary art with the proposal of Ruangrupa: “We want to create a globally oriented, collaborative and interdisciplinary art and culture platform that will remain effective beyond the 100 days of documenta fifteen. Our curatorial approach strives for a collaborative model of resource use — in economic terms but also concerning ideas, knowledge, programs, and innovations.” Therefore, documenta fifteen highlights the principles of collectivity, resource building, and equitable distribution as fundamental to the curatorial work highlighting the entire process. Collectivity follows an alternative, community-oriented model for sustainability in ecological, social, and economic terms, where resources, ideas, knowledge, and social participation are shared.

The focus on postcolonial art discusses the challenges of art in overcoming the pervasive notions of modern European thought with artists and artworks from non-Western nations seeking a break with hegemonic Western forms of globalization. Among the selected artists and groups, the presence of the Global South stands out, including Más Arte Más Acción (MAMA), a Colombian non-profit organization founded in 2011 by artist Fernando Arias and entrepreneur Jonathan Collin.  Representing Brazil is the artist Graziela Kunsch, along with Britto Arts Trust from Dhaka, and The Nest Collective, a multidisciplinary arts collective living and working in Nairobi. Founded in 2012, the group has created film, music, fashion, visual arts, and literary work. Also included is  Wajukuu Art Project, a community-based organization situated in the Lunga-Lunga neighborhood of the Mukuru slum in Nairobi.

Furthermore, documenta fifteen presents The Black Archives, a historical archive documenting the history of black emancipation movements and individuals in the Netherlands. Generally, “14 lumbung members and 53 lumbung artists participate in documenta fifteen. They were invited by ruangrupa and the Artistic Team to practice lumbung together and collectively take part in creating documenta fifteen. The lumbung members and lumbung artists were asked to involve their ecosystem of artists, activists, and community members in such a way that documenta fifteen and the common resources benefit the sustainability of that shared local practice on the long term. Thus, not only ruangrupa but a constantly expanding network shapes documenta fifteen.”

documenta fifteen’s postcolonial approach involves all knowledge (including aesthetic) presenting cultural diversity and recognizing otherness in various artistic forms. These postcolonial cultural practices consider a structured set of concepts, assumptions, and discursive approaches to produce, interpret, and evaluate knowledge about non-European people. Differences are present in all situations of public space construction and seek the meaning of interculturality through the arts and aesthetics of everyday life, representing all its subtleties related to the decolonial movement. That is the possible meaning of postcolonial aesthetics when considering overcoming differences in alternative forms of coexistence with new perspectives concerning cultural diversity in urban spaces of the Global South.

© documenta fifteen 2022

Duration of the exhibition: June 18–September 25, 2022

Artistic Direction by ruangrupa

Artistic Team

Andrea Linnenkohl, Ayşe Güleç, Frederikke Hansen, Gertrude Flentge, and Lara Khaldi

Finding Committee

Ute Meta Bauer, Founding Director NTU Centre for Contemporary Art Singapore

Charles Esche, Director Van Abbemuseum Eindhoven
Amar Kanwar, artist, filmmaker, New Delhi
Frances Morris, Director Tate Modern London

Gabi Ngcobo, Curatorial Director Javett Art Centre at the University of Pretoria
Elvira Dyangani Ose, Director MACBA Contemporary Art Museum in Barcelona
Philippe Pirotte, Professor at Städelschule, Frankfurt a. M., Associate Curator Gropius Bau Berlin, Associate Curator Berkeley Art Museum and Pacific Film Archive

Jochen Volz, Director Pinacoteca do Estado de São Paulo

Organized by documenta und Museum Fridericianum gGmbH

Shareholders: State of Hessen, City of Kassel

Director General documenta und Museum Fridericianum gGmbH

Dr. Sabine Schormann

documenta fifteen is organized under the auspices of documenta und Museum Fridericianum gGmbH with the City of Kassel and the State of Hessen in their capacity as shareholders.

Funded by the Kulturstiftung des Bundes (German Federal Cultural Foundation). Funded by the Beauftragte der Bundesregierung für Kultur und Medien (Federal Government Commissioner for Culture and the Media).

The lumbung network is supported by Goethe-Institut.

Main partner of documenta fifteen: Sparkassen-Finanzgruppe (Savings Banks Finance Group), Volkswagen AG

www.documenta-fifteen.de

HackelBury Fine Art, London is pleased to present ‘Can’t, Won’t, Don’t Stop’

Can’t, Won’t, Don’t Stop

An exhibition of new work by Doug and Mike Starn

9th June – 6th August 2022

“Order never persists, the only constant is change” D+M Starn

HackelBury Fine Art, London is pleased to present ‘Can’t, Won’t, Don’t Stop’, an exhibition of new work by Doug and Mike Starn. The Starns have been working conceptually with photography for over 30 years. This series of work, begun in 2021, sees the Starns returning to some of the techniques which they pioneered in the 1980s when they explored the three dimensionality and physicality of photography and combining the more recent inclusion of painting. This body of work also continues the Starns’ fascination with the passage of time. They make visible aging process and deterioration of the material with which they work and examine how the meaning of what was created or conceptualised changes with time.


SCP 2228b, 2021
Acrylic paint on Ultrachrome K3 Epson ink jets prints on gelatin hand-coated Zerkal

‘A photograph is not simply an image of a thing, but an image on a substrate – the photograph is a thing in itself. The same way a photograph is not only a captured instant but exists in time and deteriorates and expands with time, just as all things and all ideas change their meanings through time”. D+M Starn

The exhibition is made up of two contrasting but interconnected photographic bodies of work, Seascapes and their monumental sculpture series – Big Bambú, reflecting the central belief in the Starns’ work that everything in life is interconnected, interdependent and in constant flow. The Starns grew up on the coast of New Jersey. The ocean has long held a fascination for them as it is always changing but always the same. The Starns see an innate connection between the Seascapes and Big Bambú photographs as they reflect the dynamic forces of nature and the progression of time. They describe the construction of the Bambú as “taking the form of a cresting wave, we’re constructing a slice of a seascape (like our photographs), a cutaway view of a wave constantly in motion”. D+M Starn

‘Seascapes’ focuses on the ever changing yet ever constant sea, a body of water in perpetual motion, crashing against itself and captured in a fraction of a second by a camera – always the same but always different. The photographs of their Big Bambú installations also embody these contradictions – the sculpture is always complete, yet always unfinished. These works provide a visual metaphor for the interconnections of life – that of cultures, societies, relationships and individual and collective growth.

Big Bambú represents the invisible architecture of life and living things. It is the random interdependence of moments, trajectories intersecting, and actions becoming interaction, creating growth and change” D+M Starn

1000 Arms to Hold You_6.13.14_0647, 2015-2020 Ultrachrome inkjet prints on pigmented gelatin hand-coated Zerkal

A recurring theme in the Starns’ work is that in the midst of chaos is an order and an essential structure. In the Big Bambú sculptures the Starns create an architecture of random interconnections which becomes a self-supporting structure and takes on a life of its’ own – like a living organism. Adapting to circumstances spontaneously as the structure grows and “each knot is a decision”, it is philosophic engineering. The structures work because, as in life, everything depends upon one another and the loads are distributed throughout, fluidly and naturally.

For the Starns the Big Bambú structures are never finished and they often re-use sections of earlier pieces when creating new structures, which provides continuity and progress. This idea of interconnection and transformation is at the heart of all the Starns’ work and brings with it philosophical and spiritual reflections. The physicality and tactile nature of their work (such as scotch taping photographic pieces together) ensures that they reflect the concept of time through incorporating dust, debris and discolouration that occurs over time. The photograph is both the medium and a document – the images frozen in time, yet time continues to pass.

Seascape 5L, 2020
Archival inkjet prints on gelatin hand-coated Zerkal watercolor paper

About Doug and Mike Starn

Doug and Mike Starn, American, identical twins, were born in 1961. They first received international attention at the 1987 Whitney Biennial. For more than twenty years the Starns were primarily known for working conceptually with photography. Since 2010 their Big Bambú structures, built from “random chaos” with thousands of bamboo poles lashed together with miles of rope, have been installed in public institutions such as the Metropolitan Museum of Art, the MACRO Museum in Rome, at the 54th Venice Biennial and the Teshima Triennial. Major themes of their work include chaos, interconnection and interdependence.

“Our vision is that nothing in the world is monolithic, nothing is one thing—everything is interconnected (…) life is created through interconnected random moments (…) the invisible interconnected factors make us who we are, and culture what it is”

About HackelBury Fine Art

Established in 1998, the London gallery in Launceston Place is committed to nurturing long-term relationships with both artists and clients. It continues to evolve and progress through an expanding program of gallery exhibitions, museum projects and publishing ventures.

The small group of artists with whom HackelBury work, represent a diversity of practice, pushing the boundaries of various media. The work and practice of these artists encompasses the worlds of photography, painting, drawing, sculpture, architecture and performance. Each artist, whether emerging or established, creates work defined by a depth of thought and breadth and consistency of approach.

FOR ALL PRESS ENQUIRIES PLEASE CONTACT

Camilla Cañellas – Arts Counsultancy & PR
E: camilla@culturebeam.com M:+34 660375123

Phil Crook – HackelBury Fine Art
E: phil@hackelbury.co.uk T: +44 20 7937 8688

Instagram @hackelburyfineart

The intersection of biology, sound and music by Mikael Hwang

Former scientist and electronic artist invents and pilots the world’s first playable record filled with living yeast cells

Neuroscientist-turned-artist Mikael Hwang (aka. Psients) has fused experimental and unconventional practices to create the world’s first living playable media.

Signal is the world’s first playable, living music media that contains and is mediated by a microorganism. Inspired by biology lab practices of culturing microorganisms in Petri dishes, Hwang created Signal to embrace his love for electronic music. He has been producing electronic music for five years and has had a semi-professional career in Seoul, since completing his first Asia tour in 2019.

Hwang’s goal is to liberate scientific knowledge and research techniques from institutions by distilling and democratizing them through his artworks. He came up with the idea to merge these two mediums together whilst coming up with his PhD topic at Symbiotica with Professor Oron Catts and Ionat Zurr at the University of Western Australia. 

Hwang says, “The reason behind this work is threefold:

1. Increase the kind and range of materials for artists to work with, providing an opportunity to engage with life and living systems.

2. To comment on our capitalization, exploitation, and bondage of lifeforms. Particularly, challenging notions of speciesism (one species being more superior/important than others)

3. To give yeast – one of the first domesticated organisms by humans – a voice and agency, especially given that our use of it is pervasive (foods, beverages, pharmaceuticals, beauty, etc).”

Hwang hopes that sharing his invention with the world can further scientific development in living instruments. He firmly believes that the future of sound is biological and that his invention can bring awareness that sound has a useful place in the sciences and other realms of human life.

“Clubs and dance floors are essential spaces for people to dance and enjoy music – that’s where my love of electronic music blossomed,” says Hwang. “I want to evolve from these places to exhibitions or galleries where music and sound can take on a different role; where people can listen, think, and reflect on their environments, rather than react to the immediacy of spaces, such as a club.”

Hwang has redesigned the traditional 12-inch record to three times its original thickness to house modified living organisms, like yeast, in a 6mm casing made out of polycarbonate. The surface of the record is lathed with music created by sampling the sounds extracted from the yeast organisms.

Bulgarian-based product development firm, SplinePro had a hand in designing and manufacturing this new type of record. The music was carved directly onto the record, which takes on an entirely different manufacturing process than traditional vinyl records.

“Usually, records are made by lathing a metal plate stamper that is used as a ‘negative’ mould. Heated vinyl pucks are then pressed against the metal plate stamper moulds,” says Vladimir Kartov, SplinePro’s Head of Design.Sometimes, before making the metal plate stamper, the same process can be done on plastic – historically acetate, nowadays polycarbonate or PETG. We took inspiration from this approach and lathed our customized polycarbonate disks using a similar method.”

Signal will be premiered as part of the upcoming Paradise Cultural Foundation exhibition in South Korea, Seoul between the 20th to the 29th of May 2022. Here he invites members of the public to immerse themselves in the entire extraordinary process of making music from living yeast.

“Signal consists of three components – the installation, the object, and the music,” says Hwang.

“The installation transports viewers into the world of yeast cells, inviting them to imagine what such a place might sound like and how biology might be used in music in the future. An obelisk in the center of the installation houses an object that resembles both a petri dish and a vinyl record. Off-white yeast colonies can be found inside the object, and above them – on the object’s top surface – are a series of lathed grooves that relay audio signals.

“What you are hearing is the result of dozens of ‘bio-digital instruments’ and represents the music component of the project. These compositions have sampled, processed, and manipulated the sounds of yeast cells contained within the object to create recognizable yet unfamiliar sounds from an entirely new sound source.”

Mikael Hwang is a neuroscientist-turned-artist from Seoul, South Korea. With a decade of scientific laboratory research and a passion for music and art, Hwang has been exploring the intersection of biology, sound and music by producing compositions that incorporate biological sources.  Hwang’s brand Psients was created with the purpose of liberating scientific knowledge and research techniques from institutions by distilling and democratizing them through his artworks.

In 2020, Hwang saw that the pandemic had a positive impact on air pollution and was motivated to create an audio-visual exhibition of 18 compositions made from the sound of air pollution in Korea. The exhibition turned air pollution data from Korea into an audio-visual maze by linking different pollution levels to different sounds. High pollution was represented as shrill minor keys while low pollution had a rounder, major tone profile. Now, his latest project is underway.

Psients, Mikael Hwang’s premium brand, is a music production label that produces compositions sampling living organisms. Psients embodies Hwang’s scientific knowledge and artistic passions, showcasing techno and ambient genres rooted in the sounds of biology. 

The goal is to perform music alongside a new class of instruments – living instruments – to meditate on agency, speciesism, and what it means to be alive. Hwang’s love of electronic music courses through the sounds and rhythms of everything Psients produces. This work is being shared with the world, accessible to all on Spotify and Soundcloud.

Press Contact: Grig Richters, Public Relations Representative, grig@filmsunited.co 

HackelBury Fine Art, London is pleased to present the exhibition “From a Private Collection” 

HackelBury Fine Art

28th April until 4th June 2022

Seydou Keita, Untitled – Turned head, 1952/55 

From a Private Collection 

“I studied history at university …. for me history is a big part of collecting photography …. because the images tell a good and interesting story” The Collector 

HackelBury Fine Art, London is pleased to present the exhibition “From a Private Collection” a group of photographs acquired by one collector over a decade, celebrating the work of some of the most important photographers of the 20th century. The exhibition will be at HackelBury, London from 28th April until 4th June 2022. 

The collection was acquired over a decade from 2000 and reveals the individual taste and sensibility of one collector – reflecting their personal interest in history and visual storytelling.  The works were acquired over time and illustrate the invaluable relationship between collector and gallery, fundamentally based on trust and taste.  It maps the journey of a visitor to HackelBury in 2000, using a work bonus to purchase their first photograph El Malpais, May, 1997 by David Michael Kennedy. This purchase, together with the encouragement and guidance of the gallery owners Sascha Hackel and Marcus Bury, became the genesis for the beginning of a collection.  

“It is totally fine to pick something which you love. But it’s always a good idea to try and pick a strong work too that will enhance the collection. For me, it was easy because Marcus and Sascha gave me good advice in terms of what the strong works were”. The Collector

David Michael Kennedy, El Malpais, May, 1997

Harnessing HackelBury’s extensive knowledge of photography and the ability to identify important and representative works, the collector went on to acquire major works by iconic figures.   These artists included Berenice Abbott, Henri Cartier-Bresson, Elliot Erwitt, Frank Horvat, William Klein, Irving Penn, Sebastião Salgado and Doug and Mike Starn. This diverse and groundbreaking group of photographers dedicated their careers to capturing the essence of the people, places, time and history which inspired them.  

Seydou Keita and Malick Sidibe provide us with a glimpse of the social and cultural backdrop of their home country Mali in works such as Untitled – Lovely Daughter, 1949/51 by Seydou Keita and Christmas Eve, 1963 by Malick Sidibe. Famed for their studio portraits they brought to life a world, little known in the West at the time.  David Michael Kennedy is famous for his portraits of musicians, native Americans and expansive landscapes whilst Alexandre Vitkine chose to photograph industrial landscapes and explore the tension between man and machinery. 

Irving Penn, Elliott Erwitt, William Klein, Arnold Newman and Frank Horvat are fascinated by people and their portraits of leading figures and the fashion world draw us into a world of glamour and mystique. Illustrated by works such as Hat with Five Roses, Barbara Mullen, Paris, 1956 by Klein, Irving Penn’s Cecil Beaton, 1958, Arnold Newman’s Igor Stravinsky, New York City, 1946 and Elliott Erwitt’s Marilyn Monroe, New York, 1956. 

Henri Cartier-Bresson, Sebastião Salgado and Berenice Abbott are documentary photographers interested in the plight of people, moments in time or historical events reflected in works such as Behind the Gare St. Lazare, 1932 by Henri Cartier-Bresson, Exchange Place, New York, 1934 by Berenice Abbott and Dinka Man, 2006 by Sebastião Salgado. 

Doug and Mike Starn and Liz Rideal choose more abstract still-life images using material objects to evoke thoughts and ideas. 

Ranging from portrait and fashion photography, landscape and street photography, photojournalism, documentary and abstract photography, these artists were on a journey to discover the potential of their medium and the power of their subject matter. These selected works ‘From a Private Collection’ provide us with an opportunity to see, through the eyes of one collector, a passion for photography and the legacy of a gallery.  

“Building an art collection is a journey of discovery – the collector is exposed to art over time and their own taste and interests evolve.  The role of the gallery is to build a relationship based on trust and knowledge.  This helps the collection reflect the personality and interests of the collector. It’s always a pleasure to have this opportunity.” Marcus Bury

“Literally 95% of my collection was bought from HackelBury gallery”. The Collector 

Frank Horvat, Givenchy Hat (A) for Le Jardin Des Modes, 1958

About HackelBury Fine Art

Founded by Sascha Hackel and Marcus Bury, HackelBury Fine Art deals in 20th and 21st century artworks. Established in 1998, the London gallery in Launceston Place is committed to nurturing long-term relationships with both artists and clients. It continues to evolve and progress through an expanding program of gallery exhibitions, museum projects and publishing ventures.

The small group of artists with whom HackelBury work, represent a diversity of practice, pushing the boundaries of various media. The work and practice of these artists encompasses the worlds of photography, painting, drawing and sculpture. Each artist, whether emerging or established, creates work defined by a depth of thought and breadth and consistency of approach. 

FOR ALL PRESS ENQUIRIES PLEASE CONTACT 

Camilla Cañellas – Arts Counsultancy & PR

E: camilla@culturebeam.com M:+34 660375123 

Phil Crook – HackelBury Fine Art

E: phil@hackelbury.co.uk T: +44 20 7937 8688 

Instagram @hackelburyfineart 

Synthesis Gallery and Cosmic Rays Film Fest are pleased to present The Flowers I Have Never Seen in My Garden

Opening March  24, 2022 – 7pm CET on Mozilla Hubs

Aura Garden II 2021 © Chris Golden

The Flowers I Have Never Seen in My Garden

March  24, 2022 – 7pm CET on Mozilla Hubs

Chris Golden, Mohsen Hazrati, Lauren Moffatt, Sabrina Ratté

The flowers I have never seen in my garden is a digital exhibition featuring works by Chris Golden, Sabrina Ratté, Mohsen Hazrati, and Lauren Moffatt. Constructed in the free-floating space of Mozilla Hubs, the works on view utilize this programmable backdrop to examine how gardens might appear in the wake of ecological and social cataclysms.  

These flowers, the works on view, are not invisible, so much as hypothetical, speculative. Each work contributed, each virtual garden plot, extends into all the others, creating a network of virtual pathways that unfold sequentially, like the illustrations of an idea that is carefully trying to prove itself.  

The exhibition does not claim to be an online gallery space, or even a threedimensional archive, but acts more like a herbarium populated with anthropomorphized flora. A kind of new world is invoked where mechanism and finality mingle, not in the manner of a futuristic cyborg, but in a way where human history and natural history as we know them overgrow into a parallel reality that shares the same concerns as ours. Questions of ecological preservation, identity and its relationship to memory, and the threat of mass extinction are duly addressed. Only here, the familiar solutions offered by our world are placed in parentheses.  

Chris Golden’s Aura Garden, for example, treats of memory – only here memory is invaded by a sort of aural shimmer that translates the dynamics of floral growth into a psychedelic reflection of the calmness in nature. Through a mingling of visuality and sound, the viewer is confronted by the notion that “moments”, even at their most epiphanic, are nothing more than contingent human constructs. 

Sabrina Ratté’s Floralia offers a speculative natural history through a graduated and precise process of segmentation and reconstruction. Simulating the fusion of technology and organic matter, the work plunges the viewer into a speculative future, where samples of extinct plant species are preserved and displayed in a virtual archive room. Through editing and visual strategies, this archive room is sporadically transformed under the effect of interference caused by the memory emanating from the listed plants, revealing traces of the past that continue to haunt the present.  

Mohsen Hazrati, the architect of this Hubs environment, uses the utopian space of the virtual to revisit the history of technology. Taking the ancient Iranian innovation of using wine and other stringents (lemons, vinegar) to generate small volts of electricity, Hazrati has realized a 3D recreation of this pioneering ancient technology. The fruits that spark this device to life are wholly virtual, but have a practical, effective existence within an imaginarium modeled to look like a garden.  

Lauren Moffatt, for her contribution, plays off of the tension that obtains between augmented reality and virtual reality. Her Flowers for Suzanne Clair (named after a secondary character in J. G. Ballard’s disaster fiction novel The Crystal World) creates a strange type of organic digitality which pivots on a process of collecting and digitizing plant specimens through an exchange between the physical and the virtual. Fusing photographic details of flowers with aleatory textures, these fictive plant species are windows to alterity glimpsed through a prism of biological life.  

Staging, ultimately, is essential to what is happening throughout The flowers I have never seen in my garden. Looking at the the digital species the show models itself around, history itself becomes heavy with an unsettling inertia; and the concept of “nature” becomes mechanized to a point where we can almost peer past it, towards a sentient nothingness that defies the logic of temporal descriptors. 

The flowers I have never seen in my garden is curated and designed by George Vitale (synthesis gallery) and produced by Cosmic Rays. 

CHRIS GOLDEN (b. 1988, GBR, https://chrisgolden.art) is a digital artist exploring the energy and vibration of this world. His work focuses on synthesizing a meditative-psychedelic perspective through colour and form. Chris presents a spectrum of projects across physical and digital planes that shares a visual way of being. A reminder of our energy that resides within. 

MOHSEN HAZRATI (b. 1987, IRN, http://mohsenhazrati.com) graduated with a BA in graphic design from Shiraz Art Institute of Higher Education in 2012, minoring in new media and digital art. His works focus on literature and digital technologies. In 2013 together with Milad Forouzande, Hazrati founded “DarAlHokoomeh Project”: a new media art curatorial project based in Shiraz, Iran. 

LAUREN MOFFATT (b. 1987, AUS, https://www.deptique.net/) is an Australian artist working with immersive environments and experimental narrative practices. Her works, often presented in hybrid and iterative forms, explore the paradoxical subjectivity of connected bodies and the indistinct boundaries between digital and organic life.  

SABRINA RATTÉ (b. 1982, CAN, http://sabrinaratte.com/) is an artist living between Montreal and Marseille. Her practice includes video, animation, installations, sculptures, audio-visual performances, prints and Virtual Reality. Mixing analog technologies, photography and 3D animation, she investigates the influence of digital and physical spaces and the interplay between these surroundings and subjectivity.  

COSMIC RAYS is an organization based in Chapel Hill, North Carolina that supports the promotion and diffusion of innovative film, video, and digital media art through public screenings, live performance, and gallery exhibition.

synthesis gallery is an immersive blend of technology and art displayed under one roof, showcasing cutting-edge experiences by new wave artists and visionaries through virtual and augmented reality. Dedicated to exhibiting internationally renowned, well-established artists alongside emerging ones, since its inception, synthesis has garnered considerable attention in the art scene. 

Opening: March 24, 2022 – 7pm CET

Exhibition: March 24, 2022 – June 23, 2022 

Private Tour: email to register, +49 176 325 10217 

Online venue: https://hubs.mozilla.com/vA8xeJa/ (activated on March 24th) 

The exhibition is generously supported by: 

Join the discussion about the exhibition online at:  

Instagram: @cosmicraysfilmfestival; @synthesis.gallery  

Facebook: Cosmic Rays; synthesis gallery

Website: cosmicraysfilmfest.com; synthesis.gallery

Discord: https://discord.gg/WjWcqPQtrz

KATJA LIEBMANN: Dust in the Wind

HackelBury Fine Art, 4th March to 23rd April 2022

Dust in the Wind, 1996/2020 Toned Cyanotype

HackelBury Fine Art, London is pleased to present: Dust in the Wind, a solo exhibition of new work by Katja Liebmann and her fourth exhibition at HackelBury Fine Art. With this body of work, Liebmann creates “etchings of time” by revisiting negatives, made over the last twenty-five years, to condense time and memory. By bringing together yesterday and today, and using low tech photographic processes, she creates work which has a timeless and painterly quality allowing her to “develop time like a picture” for “memories are malleable and recollection changes with time”.

“During our journeys through life, to our alleged goal, it is easy to become detached from our immediate environment. It becomes hard to see anything beyond what we have already learned to see and most of what we see, when we see, is quick and remote; we are lost in thought. I try to capture these traces of moments, of life happening around us, frozen in one image.”

The title Dust in the Wind inspired by the Kansas song, reflects Liebmann’s interest in the metaphor of the journey and her exploration of time passing. There is a melancholy in the work, which mirrors the ageing process of the material she is reusing, and which alludes to a sense of impermanence and mortality.

“Some of the negatives were quite dusty, and to me it was this dust, telling it ́s own story, adding to the enigma of the images.”

Using simple old analogue cameras, these images were taken by the artist in the 1990s whilst on walks and bus trips through London and New York in order to capture the ‘spirit of the city’. For Liebmann the intention was to document each journey from the point of boarding to the end of the line, the final destination.

The title of some of these works and the overall subject matter suggest a longing for belonging as seen through the eyes of an outsider. Liebmann also makes the trace of human presence almost indecipherable and this eradication of identifiable figures echoes the invisibility of the individual and the anonymity of the city.

Liebmann’s life has been characterised by moving to new places and adapting to change. Dust in the Wind gathers these visual recordings of urban anonymity and transforms them in hauntingly beautiful images which document a uniquely personal journey.

Windows 2, 1996/2020 Toned Cyanotype

Thames 1, 1996/2020 Toned Cyanotype

About Katja Liebmann

Katja Liebmann (German b.1965) grew up in Berlin and is based in Oldenburg/Germany. She is a graduate of the Royal College of Art, London, the Kunsthochschule, Berlin and the Academy of Fine Arts, Nuremberg. In 2001 she received a Scholarship from the Hasselblad Foundation in Goeteborg, Sweden. She was shortlisted for the 1998 Citibank Photography Prize (now the Deutsche Börse Photography Prize) and was awarded the prestigious DAAD scholarship in 1995. Her work is in the permanent collections of the Royal College of Art, London; the Victoria and Albert Museum, London; the Charles Saatchi Collection, London; the LzO Art Collection, (Landessparkasse zu Oldenburg), Oldenburg; the Bishkek Art Centre, Kyrgyzstan; and the Omsk Museum of Visual Arts, among others.

She is a lecturer in printmaking and early photographic processes at Carl von Ossietzky University, Oldenburg and was Visiting Lecturer at the Royal College of Art, London College of Printing and Camberwell College of Art, London, Kent Institute of Art & Design, Kent, UK and Haccetepe University, Ankara.

Liebmann first gained critical acclaim for the series Gotham City, which was acquired by the Saatchi Collection. She describes herself as a ‘painterly soul’, citing Rembrandt, Turner, Poussin, and Titian as her inspiration. On a quest for beauty and harmony, seeking order from chaos, her images are characterised by a softness and longing which she likens to German Romanticism. Liebmann’s use of the early photographic technique is not a sentimental choice; for her it simply presents the best means to portray the ephemerality of time and existence.

About HackelBury Fine Art

Established in 1998, the London gallery in Launceston Place is committed to nurturing long-term relationships with both artists and clients. It continues to evolve and progress through an expanding program of gallery exhibitions, museum projects and publishing ventures.

The small group of artists with whom HackelBury work, represent a diversity of practice, pushing the boundaries of various media. The work and practice of these artists encompasses the worlds of photography, painting, drawing, sculpture, architecture and performance. Each artist, whether emerging or established, creates work defined by a depth of thought and breadth and consistency of approach.

FOR ALL PRESS ENQUIRIES PLEASE CONTACT

Camilla Cañellas – Arts Counsultancy & PR
E: camilla@culturebeam.com M:+34 660375123

Phil Crook – HackelBury Fine Art
E: phil@hackelbury.co.uk T: +44 20 7937 8688 Instagram @hackelburyfineart

HACKELBURY FINE ART LTD 4 LAUNCESTON PLACE, LONDON W8 5RL T: 020 7937 8688 http://www.hackelbury.co.uk

Coral Woodbury: Palimpsest

Coral Woodbury: Palimpsest

HackelBury Fine Art, 4th November 2021 – 22nd January 2022

HackelBury Fine Art, London is pleased to present: Palimpsest, a solo exhibition of new work by Coral Woodbury, and her first solo exhibition in the UK and Europe, in which her allegiance to people’s stories and making the invisible visible permeate three bodies of work. In Revised Edition the artist redraws the history of art from a feminist perspective; in Palimpsest she illuminates the transformative power of time and life experience and in the In Place series she employs the language of colour as a record of cross-cultural travel. The title of the exhibition Palimpsest reflects this idea of a journey through time, life and place.

Books are a recurring theme in Woodbury’s work. Their structure becomes a composition with which to work, providing “a tension between text and image”. Her fascination with palimpsests (ancient parchment manuscripts which were reused over centuries) lies in the connection of humans across time – through their thoughts and their hands. For Woodbury a book is a metaphor and she finds parallels between body and book, the spine that binds it and holds it together. The vellum and the skin, what is held inside and the covering.

A Remarkably Nasty Woman, 2021
Broken Spine V, 2021

Coral Woodbury

Coral Woodbury (b. 1971) critically reinterprets Western artistic heritage from a feminist perspective, bringing overdue focus and reverence to the long line of women artists who worked without recognition or enduring respect.

Coral’s most recent project Revised Edition focuses on Janson‘s History of Art. First published in 1962, the book quickly became a referential text on art history, for generations shaping the Western canon and understanding of art. Its influence as a survey textbook should however have been called into question as the text did not mention any female artists until 1986. The more recent editions of the book are still heavily male-dominated, failing to recognise the legacy and importance of women artists.

With Revised Edition, Coral inks portraits of women artists over images from the well-known canon. Using material culture which is available to her – either photographs or self-portraits of the women – Coral makes visible those who are obscured from history. She describes herself as a “historian, gazing backward, and as an artist, creating anew” whose works “are a way to heal the injustices and omissions of art history”. Recognising that women were vital contributors to art history and yet excluded from it both in their own and subsequent times, Coral reclaims space for them. Bringing women together across time and place, she re-recasts and re-crafts the story of art.

“What has even been deemed art at all, all of art history was defined and determined by men” explains Coral. As women were for centuries excluded from art institutions and forbidden to perform what was considered essential artistic training, their creative input was often demoted to the areas of art considered as minor as well as domestic decorative crafts. Coral’s inclusion in the Revised Edition of portraits of women artists who were omitted from the realm of High Art, makes a stand against male.

CV

b. 1971, NY
Lives and works in Boston, NY

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About HackelBury Fine Art

Established in 1998, the London gallery in Launceston Place is committed to nurturing long-term relationships with both artists and clients. It continues to evolve and progress through an expanding program of gallery exhibitions, museum projects and publishing ventures.

The small group of artists with whom HackelBury work, represent a diversity of practice, pushing the boundaries of various media. The work and practice of these artists encompasses the worlds of photography, painting, drawing, sculpture, architecture and performance. Each artist, whether emerging or established, creates work defined by a depth of thought and breadth and consistency of approach.

FOR ALL PRESS ENQUIRIES PLEASE CONTACT

Camilla Cañellas – Arts Counsultancy & PR
E: camilla@culturebeam.com M:+34 660375123

Phil Crook – HackelBury Fine Art
E: phil@hackelbury.co.uk T: +44 20 7937 8688 Instagram @hackelburyfineart

HACKELBURY FINE ART LTD 4 LAUNCESTON PLACE, LONDON W8 5RL T: 020 7937 8688 http://www.hackelbury.co.uk

© 2021 HackelBury Fine Art, Ltd. Copyright for all images is held by the respective artist or estate and they may not be reproduced in any form without express permission. All rights reserved.

Between Symbolic and Rational Thinking: The Art of Dr Gindi

Between Symbolic and Rational Thinking:

The Art of Dr Gindi

By Christiane Wagner

Even nowadays, the limits of art and knowledge are questioned, and discoveries enrich the “art of knowledge” even more in the face of the complexity of understanding the human being. The fact is that, by classifying and organizing it throughout history, knowledge, in and of itself, is becoming increasingly complex in its foundations, analysis, and conclusions. We, therefore, have to ask ourselves: How do we represent this complexity through art?

From abstractions to what becomes concrete and vice-versa, among so many terms and rational answers to questions, and especially when words are insufficient to express many feelings, Dr Gindi’s art can be considered an essential component of the answer. Between illusion and reality, the representative role of art and symbolization becomes an essential part of all human existence.  Between figurative and abstract motifs, the forms of its perception represent many concepts, feelings, and situations fundamental to humankind, whether through mathematics, philosophy, even theology, and in art, which is the focus here.

For example, the concept of infinity, which has its deepest roots in mathematics, is perceived and materialized in three-dimensional forms. Infinity, for Dr Gindi, is beyond rational thought, as seen in her sculpture series Immanent Conception of Infinity. Other fundamental concepts of human existence are also part of her artistic work, ranging from reason to myth and symbolism. An example is the Interstellar Dilemma sculpture, which poses the question: “Is there such existence as matter without energy, and Earth without the divine?” Her works also represent various existential situations of everyday life, among them “overcoming the conventions of life” or even “torn between purpose and avolition.” For example, the sculpture The Fateful Choice, in all its bodily expressiveness—a predominant characteristic in the artist’s mastery of human anatomy—highlights the gesture and the decisive moment of the human condition. As if that were not enough, the question “How is trust being conceived?” is added. Nevertheless, with the mastery of her perception of the world of things and humans, Dr Gindi states, “I am an illusion changer.”

The term “illusion” derives from the Latin ludere, “to play.” Well, in our contemporary society, in the world of things, we experience a reality of appearances. The concrete form of the things consolidates this reality. Appearances are the shapes and forms of how things are presented. The dynamic that is established between appearances and the reality of the environment, in the conception of aesthetics, concerns the relationship between the artifact and the space, adding time when one experiences the sensation of having the possibility of seeing something, which is then understood, and finally distinguished and defined as something concrete. This process is how Dr Gindi changes the play—the illusion.

We should note that aesthetic experience is necessary for the artwork to be perceived. This is how we feel, understand and gain knowledge of the artifact—something, which until now, existed only as a concept. Only then, in Dr Gindi’s art, is it defined as something concrete. Reality is the illusion—in the dimension of appearances—that, in the sculptor’s words, “we are all bound together by the human question of origin and destiny.” Thus, through art, we can attribute that to the universe of appearances, in the dimension of time and space, offering the illusion of transformation and change. Nevertheless, that still conditions us to ask the same existential questions as our ancestors. Finally, to know more about this sculptor and her artistic work, I present a brief interview with Dr Gindi below.

Christiane Wagner: How are science and art present in your work? I think of your medical training and your path in the arts. But not only that, of course, because the main concepts in your art show your interest in science and knowledge, while at the same time questioning its limits. What are your views?

Dr. Gindi: When sculpting, I re-create the physical and psychical aspects of humanness, as in an open-ended anamnesis—the scientific inquiry into the frailty of being is key to my practice. Then, I augment that inquiry until it gives life and empathy to the materialized characters I am forming and—most importantly—until it reflects their yearning toward infinity. Looking for answers to complex problems is a common thread in science and art—I have been experiencing both pursuits as I was trained and worked as a medical doctor prior to graduating from art school. A hypothesis about the human body in medicine and in sculpture is falsifiable if it is clear that the visualization or an evaluation disproves the hypothesis in question. Just because something worked in the past doesn’t necessarily mean that it will work in the future. My sculptures are more like emblematic nativities eternalized in bronze rather than the eternal circulation of old fallacies. The best physicians and sculptors are those who can take all the facts and make sense of them with an unending amount of rational thinking. There is one major difference between physicians and sculptors, though—sculptors, at least in my understanding, can add an empathic, symbolic, illusionary dimension to the creative process. In my own sculpting practice, for instance, I model characters at inflection points of life, often represented by actions and events that call for unbound infinity whilst calling into question the certainty of truth. My protagonists’ struggle to find intrinsic purpose is illustrated by an often oddly striking and almost always non-scientific stylistic idiom that might produce an unusual spatial experience. I adore the ephemeral, the eerie, and the quixotically ethereal.

CW: Which works or themes represent the most significant influence on your creations? I think mainly of the expressive power of your works based on human anatomy, as well as the masterpieces of sculptors such as Camille Claudel.

DG: When starting to study sculpture, I became inspired by 19th-century French realism, but—without much remorse—I soon discovered and became inclined towards the unfettered approach of Camille Claudel. In a rather natural vein, I moved further on and unlearned what I learned before, convinced that there should be no exemplars and rules at all. While always nurturing Claudel’s sanguine temperament and exuberant sensuality, I started to develop my own sculptural language. I embrace my works pragmatically, and yes, even naively. My practice is thus empirical and very often profoundly absurd—I am not afraid of idiosyncratic escapades if they need to be. If there is a logic, maybe it is Diogenes’ logic—as each of us has to choose his own alternative to reason when living in the tub emerged in the market of truths. I believe that our mind is not just an organ for utilitarian reasoning but also a symbolic instrument for creating illusions. As humanity is cloistered, polyhedral, and unpredictable, I am searching to understand what it means to be human within that infinite realm of being.

CW: We must consider that today the innovation and art universe are much more favorable for women artists. In this sense, how do your sculptures maintain a dialogue with the present time?

DG: Well, there have been many improvements to support women artists while acknowledging gender diversity and promoting gender equality. Still, biases continue to exist. To give you an example: a striking minority of museum acquisitions around the world are artworks created by women artists. I don’t want to complain. Women can grasp and create the opportunities for which they wish and need. Further, in my case, I have not come to grips with the maze of my gender, as I don’t understand myself as female-only—I consider myself an almost androgyne being. We all are androgyne, in one way or the other—we are human. Rather than concern myself with gender ideologies, I try to explore the chokepoints of female and male infinity. It shall all be one. Nevertheless, born as a female, I endeavor to live my own identity narrative by sketching the beauty, buoyancy, and unapologetic lustiness I believe all women deserve to experience.

CW: Artistic anatomy is fundamental to figurative creative knowledge. And undoubtedly, your sculptures evidence this quality. However, besides figuration, we perceive a high-quality abstract tendency in your sculptures. In this sense, abstractionism is a way to express art without the mimetic representations of reality, offering new aesthetic experiences. So, how do you define your art in terms of figuration and abstraction in the Immanent Conception of Infinity series?

DG: Most generally, my approach toward sculpting can be described as organic as I look into the symbiosis between the individual and their outer ambit. I do not want to see the individual split apart from this very ambit, as the individual is always an organic part of it. You might thus perceive my style as figurative, but my approach and inner self are perhaps much more complex than that. I cheerfully resist categorization. My practice is based on synthesis and a conviction of holistic unity embedded in illusions, without falling into the trap of merely incarnating reality—I will always cherish the singularity of us human beings with all our veritable wounds and abstract edges. My sculptures do thus not emphasize appearance and suggest that essence is to be found in appearance. Take Immanent Conception of Infinity as a telling example: A human figure reposes on the ground to explore the fabric of time and space, having neither beginning nor end. The spectator’s gaze might encounter abstract tracks here and there whilst almost intuitively sliding into floral figuration. Figurative art can be abstract, and abstract art can be figurative—that’s, for me, the secret of organicism. And yes, I am an organic sculptor who grows in the face of illusionary reality. That’s what I am.

© Dr Gindi

Dr Gindi is one of Switzerland’s most acclaimed sculptors who works with clay and bronze. On the surface, her approach might be comparable to that of Camille Claudel, but the protagonists in the enthralling sculptures she creates can only spring from her imagination—they are the progenies of symbolic and concurrently rational thinking. Resisting attunement, she scarcely has a mainstream art career—she was originally educated as a medical doctor and worked as a physician prior to graduating from the Florence Academy of Art. Intrinsic to her artistic practice is the focus on the infinite aspects of human existence that she describes as the main thing worth attaining in life.

For complete artworks, and for more information, see her website:

www.dr-gindi.com

Immanent Conception of Infinity © Dr Gindi

Immanent Conception of Infinity © Dr Gindi
Immanent Conception of Infinity © Dr Gindi

Beaufort 7 © Dr Gindi

Transfigured Immortality  © Dr Gindi

The Fateful Choice © Dr Gindi

The Fateful Choice © Dr Gindi

Let’s stay tuned!

Let’s stay tuned! This is a session for more coverage of art and culture. In addition, it features publications devoted to shorter, creative concept-based pieces pertaining to arts and culture.

This session is where collaborators and journalists will be welcome to submit interviews, opinion pieces, reviews of exhibitions and events. To put this cause into practice, all interested in collaborating can participate by sending your pieces or press releases to our email. We will take care of contributions, select essential works, and publish them.

Mala Gallery of The Association of the Artists of Applied Arts and Designers of Serbia, in Belgrade, is pleased to present: PANdemia PANscape, a solo exhibition by Katarina Andjelkovic.

Katarina Andjelkovic – PANdemia PANscape

25th August – 2nd September 2021

Katarina Andjelkovic, PANdemia PANscape. Sequence 1. Digital graphics on mirror, 2021.

Katarina Andjelkovic, PANdemia PANscape. Sequence 2. Digital graphics on mirror, 2021.

Katarina Andjelkovic, PANdemia PANscape. Sequence 3. Digital graphics on mirror, 2021.

Katarina Andjelkovic, PANdemia PANscape. Sequence 4. Digital graphics on mirror, 2021.

In ancient Greek religion and mythology, Pan is the god of the wild, shepherds and flocks, nature of mountain wilds. He was also considered a cause of sudden and unjustified fear. Being a rustic god, Pan was not worshipped in temples or other built edifices, but in natural settings, usually caves. Inspired by Pan’s world, the project uses narrative visual devices, fragmentation techniques and image layering, to provide an insight into ways of inhabiting the non-human space. Contrary to expectations, instead of analyzing the collective destiny of the post-pandemic world, the project deals with the possibilities for understanding architecture through the lens of metaphysics, the magical and the fantastic. A repetition of the only recognizable motifs, stairs and lights on the horizon, opens a portal between reality and fantastic underground worlds that are accessed similarly to Alice through a hole that leads to Wonderland. At the same time, the horizon itself represents the flow of time, nature, and power within the system distorted by a twisted perception of the horizontal plane. Leaving the observer’s imagination to define the scale of structures without any known referent, the author transforms the spaces of the known into the territory of abstract architectural reveries. A series of digital graphics is created in the combination of digital drawing techniques, moving image editing programs and manual drawing techniques, in several stages. Dominant gray tones are created by overlapping layers of different textures, creating rich dark tones, often black surfaces, and fragmented rhythmic transitions of coloured texture. These tones are contrasted by key areas of open white, which often represent the ground into which the imagined spaces of halls, staircases and atriums are engraved.

Lecture

As part of the exhibition, the author will give a multimedia lecture titled “Surrealism and the architecture of end space,” on August 25, 2021, at 18:30h.

Biography

Katarina Andjelkovic (1983, Yugoslavia), with a Ph.D., M.Arch.Eng., is a theorist, practicing architect, researcher and a painter. She is a high-skilled draftsman, writer and a researcher. Katarina’s research, writing and teaching is transdisciplinary and crosses architecture, visual arts and film. In Spring semester 2021, Katarina is the main instructor of the Hand-drawing course: the Face[s] of Architecture in New York City. She served as a Visiting Professor, Chair of Creative Architecture, at the University of Oklahoma U.S.A., Institute of Form Theory and History in Oslo, Institute of Urbanism and Landscape in Oslo, University of Belgrade – Faculty of Architecture, and guest-lecturing and mentoring at Master Studies of TU Delft – Faculty of architecture and the built environment, Doctoral studies of AHO – Oslo School of architecture and design, FAUP Porto, DIA Anhalt Dessau, SMT New York, and Bachelor studies of ITU – Istanbul Technical University. She lectures internationally at conferences in architectural representation, modern aesthetics of architecture, film-philosophy, drawing research and visual culture in more than 26 countries in Europe, United Kingdom, North America and Canada. Katarina has published her research widely in international journals (Web of Science) and won numerous awards for her architecture design and urban design competitions. She is a full author of the Preliminary Architectural Design, a national project supported by the government of Serbia. She won the Belgrade Chamber of Commerce Award for Best Master Thesis defended at Universities in Serbia in all disciplines. Katarina has published two monographs; an upcoming book chapter and several journal articles with Intellect UK. Andjelkovic exhibited her artwork at 5 Solo Exhibitions and at many international architectural, fine arts and photography exhibitions, including group exhibitions at Pall Mall Gallery in London, Royal Hibernian Academy in Dublin, MAAT Museum in Lisbon, International Biennial of Illustration ”Golden Pen” in Belgrade, TU Delft in the Netherlands, the Museum of Applied Arts in Belgrade, the National Museum in Belgrade, Gallery Singidunum in Belgrade, Stepenište in Art Education Center ”Šumatovačka”, Gallery of the Central Military Club, Suluj Gallery, Pavillion Cvijeta Zuzoric of the Association of Fine Artists of Serbia, and Mala Gallery of the Association of Fine Artists of Applied Arts and Designers of Serbia.

About Mala Gallery of The Association of the Artists of Applied Arts and Designers of Serbia

Mala Gallery and Singidunum Gallery of The Association of the Artists of Applied Arts and Designers of Serbia, 12 Uzun Mirkova Street and 40 Knez Mihailova Street, are the center of cultural, tourist and business events in Belgrade. Located in the city center, these galleries are committed to nurturing long-term relations to the ancient history of Belgrade, while permeating and connecting art in the field of applied arts and design with the interests of a wide and diverse audience. Galleries are designed as a sales-type for works in the field of applied and fine arts.

Exhibition opening: Wednesday, 25th August, at 18h.

Visits: Mon-Fri 11-18h, Saturday 10-16h, Sunday: closed.

Access: from the ground floor, catalogue (print) available during the event, e-catalogue available on demand.

Contact: Katarina Andjelkovic: katarina.code@gmail.com

Address: Mala Gallery, 12 Uzun Mirkova Street, Belgrade 11000, Serbia