Miami Art Week 2015 Highlights
At the center of what now is commonly referred to as Miami Art Week, is Art Basel Miami Beach, held annually at the Miami Beach Convention Center. During the 14th edition, 267 galleries from 32 countries exhibited and sold works from world renowned artists like Henri Matisse, Pablo Picasso, Jean-Michel Basquiat, Frank Stella, Yinka Shonibare, Kehinde Wiley, Anish Kapoor and Wangechi Mutu. The fair, spearheaded by Art Basel’s newly appointed Director Americas Noah Horowitz, was attended by 77,000 visitors over five days, including major private collectors as well as directors, curators, trustees and patrons of nearly 200 museum and institution groups. Collectors from over 110 countries attended the show, with first-time collectors coming from Cambodia, Ethiopia, Nicaragua, Romania, Togo and Zimbabwe.
The most engaging section at Art Basel Miami Beach tends to be the Positions sector, which allows curators, critics, and collectors to discover ambitious new talents from across the globe, by providing a platform for a single artist to present one major project.
Among the 16 exhibitors in Positions, 12 were first-time participants in the sector. Artists included Dan Bayles at François Ghebaly Gallery (Los Angeles), Pauline Boudry and Renate Lorenz at Marcelle Alix (Paris), Vittorio Brodmann at Galerie Gregor Staiger (Zurich), Henning Fehr and Philipp Rühr at Galerie Max Mayer (Dusseldorf), GCC at Project Native Informant (London), Jiieh G Hur at One and J. Gallery (Seoul), Fritzia Irizar at Arredondo \ Arozarena (Mexico City), Daniel Keller at Kraupa-Tuskany Zeidler (Berlin), Andrei Koschmieder at Real Fine Art (New York), Jaromír Novotný at hunt kastner (Prague), Sean Paul at Thomas Duncan Gallery (Los Angeles), Romy Pocztaruk at SIM Galeria (Curitiba), B. Ingrid Olson at Simone Subal Gallery (New York), Villa Design Group at Mathew Gallery (Berlin, New York), Thomas Wachholz at RaebervonStenglin (Zurich) and He Xiangyu at White Space Beijing (Beijing).
Sales highlights in 2015 included a Francis Bacon oil on canvas, “Man in Blue,” from 1954, with an asking price of $15 million by Van de Weghe Fine Art, and Picasso’s “Buste au Chapeau” oil from 1971, with an asking price of $10.5 million, from the same gallery. Mazzoleni, a gallery in Turin and London, reported the sale of three works by Alberto Burri from the 1960s, including a “Plastica” which sold for $2 million.
Surrounding Art Basel Miami Beach is a number of satellite fairs in Miami Beach as well as Miami’s Midtown. Most prominently, the modern and contemporary art fair Art Miami, which has been a prime Miami art fair since its inception 26 years ago. As every year at Art Miami, 120 galleries presented works of the highest quality to international collectors. As the No. 1 ranked international art fair for attendance in the U.S. and second most attended globally, Art Miami attracted more than 85,000 new and established collectors, curators, museum professionals, press, art world luminaries and art enthusiasts to its 200,000-square-foot pavilions.
Art Miami sister fair CONTEXT was an absolute must-see this year. Featuring 95 international galleries and projects from 20 countries and 53 cities, CONTEXT presented promising cutting-edge, mid-career and established artists. Especially impressive and one of the most noteworthy stand-outs of Miami Art Week 2015, was the art presented by the Galleries Association of Korea, which included, amongst others, Nine Gallery and artists Lee Lee Nam and Son Bong Chae.
Another highlight of Art Week was the 2015 edition of UNTITLED., held in the fair’s fuchsia tent right on the sand of Miami Beach at Ocean Drive and flooded with natural light, boasting views of the ocean. UNTITLED. creates a distinct fair experience as it is expertly curated to offer a presentation unlike any other fair.
Founded by Jeff Lawson in New York in partnership with Alan G. Randolph in Miami, UNTITLED. welcomed back its curatorial team, led by Artistic Director Omar López-Chahoud, with curators Christophe Boutin and Melanie Scarciglia, co-founders of the distinguished publishing houses “onestar press” and “Three Star Books” in Paris.
Galleries that stood out were Taymour Grahne Gallery from New York, presenting works by Hassan Hajjaj, two galleries from Stuttgart, Germany: Thomas Fuchs and Michael Sturm, Luis de Jesus from Los Angeles, presenting paintings by Edith Beaucage, and Galerie Ron Mandos presenting the latest works by three international acclaimed artists: Isaac Julien, Krisstof Kintera and Inti Hernandez.
Other fairs on the beach were SCOPE Miami Beach, with a focus on emerging and mid-career contemporary and Miami Beach PULSE, where the Vietnamese multi-disciplinary artists, writer and curator Trong Gia Nguyen won the PULSE Prize.
NADA, a fair that to many collectors and art enthusiasts is a must-see, was held at the Fontainebleau Hotel this year. NADA is presented by the New Art Dealers Alliance, a non-profit arts organization dedicated to the cultivation, support, and advancement of new voices in contemporary at. For the 2015 edition, 87 galleries, art spaces and organizations, including Miami’s own Guccivuitton and Locust Projects as well as LA-based gallery Moran Bondaroff, which presented works by artists like Jacolby Satterwhite, Michael Genovese, Lucien Smith and Eric Mack, amongst others.
Besides the fairs, Miami Art Week offers a calendar packed with special exhibition like “Unrealism,” a collaboration between Jeffrey Deitch and Larry Gagosian at the Moore Building, gallery exhibitions, special installations, performances, and projects, public art, breakfasts, brunches, lunches, dinners and parties, parties and more parties. Whether Solange Knowles spinning at Fendi, the Urban Bush Babes celebrating with Bombay Sapphire, or Dev Hynes and Ryan McNamara presenting their latest project “Dimensions” at the Perez Art Museum Miami, there was no shortage of fun and stories to be told.
Also in town was rapper and producer Swizz Beatz, an avid art collector himself, who brought the No Commission Art Fair to Wynwood. The Dean Collection in collaboration with BACARDI presented an art fair . featuring artists like HoxxoH, Michael Vasquez, KAWS, Kehinde Wiley, Mickalene Thomas, Sue Tsai, Timothy Buwalda, SWOON, Shepard Fairey, Tomokazu Matsuyama, and a concert series featuring Alicia Keys, Pusha T, DMX and Whiz Khalifa.
What was different about Swizz Beatz approach? It was quite significant actually. There was no fee to exhibit at his fair and no commission was taken from the artists‘ sales. Additionally, the fair supported The Heliotrop Foundation, started by artist Swoon as a way to support and extend the values and vision of her long-term community-based projects , such as the core projects in Haiti as well as Pennsylvania and Louisiana in the US.
The most interesting project of the week was presented by Anthony Spinello of Spinello Projects - the Littlest Sister Art Fair. The gallery, which showed for the first time in the new space in Little Haiti, also simultaneously celebrated its 10th anniversary with the exhibition “Full Moon,” featuring artists Agustina Woodgate, Antonia Wright, Aramis Gutierrez, Farley Aguilar, Kris Knight, Manny Prieres, Naama Tsabar, Santiago Rubino, Sinisa Kukec, Typoe and special live performance by Psychic Youth Inc. and Franky Cruz.
Curated by Sofia Bastidas, the Littlest Sister Art Fair was a “faux” invitational art fair, commenting on the art fair as an entity that activated Miami’s contemporary arts scene. The fair, set up as a traditional fair space with 10 small white-walled booth featured works by Miami based female artists who work in painting, sculpture, design, installation, and new media. A project sector focused on video, sound, performance, and happenings.
NUN at the Littlest Sister Art Fair - photo by Robert Dempster
Running concurrently, Platform, a symposium bringing together Miami’s most influential women in the arts, invited panelists to engage in conversations and debate regarding current macro and local issues, from challenges in the field, the future of art fairs, real estate development and the arts, to gender and race inequality in the market. Programmed throughout Miami Art Week, Platform will create informal opportunities of exchange for real critical discourse.
A Digital Suicide by Liam Scully | The book launch preview at Matt's Gallery
Come, and look on sadistically at an act of public execution for the new epoch.
Private life has certainly become public life and private life has become art; Tracey Emin gave us her bed, and now Scully gives us every poke, post and private message of his online life. Come, and look on sadistically at an act of public execution for the new epoch; the “digital suicide” of Liam Scully.
A heavy online-liver from 2008-2013, Scully decided to delete social media and eliminate his online presence. When committing this deed of “digital suicide”, Facebook offers the opportunity to download all your data; even that thought deleted. You can relapse and return to as you once were, or scan through every sordid detail of your online past.
Post-Snowden, Scully has taken ownership in reclaiming his online self and spent a year artistically documenting this data to publish to the public. Every page of meta-data has been printed onto pink thermal electrocardiograph paper and every photograph has been recorded in drawings, collages, marks, rubs, spillages and stains. The digital has become as permanent on paper as it is online; provoking fascination, sensational gratification, and concern. Their vulnerable, chunkily-crafted beauty has been bound in five large-scale, limited edition books which will be on display on Friday 13th November (1830-2100); as well ‘In loving memory’, a limited edition obituary-book by friend and art writer Elizabet Homersham.
Friday 13th November, 1830 – 2100 @ X MARKS THE BÖKSHOP, Matt’s Gallery, 42-44 Copperfield Road, London, E3 4RR
Kojey Radical is more than just an artist
Artist Kojey Radical recently launched his single OPEN HAND, a powerful tune dealing with the race stigma in our society. With his new concept brand ‘Francis and the artist’, he proves yet again that art can go beyond superficiality.
If you never heard of the name ‘Kojey Radical’, you have been missing out on one of the best inspiration sources of the past couple of years. Referred to as the Basquiat of alternative urban music, the artist/poet/musician/director and occasional designer (amongst other things) will go to extremes to keep his creativity flowing. He recently launched his single ‘OPEN HAND’, a powerful tune dealing with the race stigma in our society. With his new concept brand ‘Francis and the artist’, he proves yet again that art can go beyond superficiality.
“The revolution is not in the closed fist, it’s in the open hand”
Kojey is not afraid to deal with world problems right handed. His last EP ‘OPEN HAND’ is as beautiful as it is meaningful. Produced by fellow London artist ‘New Machine’, he managed to find the words many aren’t capable of finding, striving for people to embrace acceptance.
“Those who will… and those who actually will…”
Knowing the struggle of receiving recognition in the creative sector, ‘Francis and the artist’, Kojey's new concept brand, is a project that hands over part of the creation to new artists. Fusing his background in contemporary art and his love for fashion, Kojey breaks down the basic constructs of the everyday garment, giving young talent the opportunity to make an art work and translate it into a piece of clothing. The first piece is curated by the artist himself, commissioning work from upcoming artist ‘Palime Demanet’ for “The Archetypal T-Shirt”.
The brand will be launched and available for everyone on the 2nd of November at 17:00 GMT. Prepare yourself for a 48 -hour race to get your exemplar at https://andtheartist.com
What is Das Leben am Haverkamp?
Compound design identities, one collective. ‘Das leben am Haverkamp’ is here to give a new dimension to fashion and challenge the industry in every possible way.
photographer: Sandra Zegarra Patow/ stylist: Lewis Robert Cameron/ model: Stephen Edgar
Compound design identities, one collective. Leaving the Royal Academy of Art in The Hague in 2013, Dutch designers Anouk Van Klaveren, Christa van der Meer and Gino Anthonisse, Dewi Bekker decided to not only stay in touch but also join forces. The outcome couldn’t be more mind-blowing as ‘Das leben am Haverkamp’ made it their mission to give a new dimension to fashion and challenge the industry in every possible way.
“Welcome to our island spaceship disjointed, from time and space, which could all of a sudden land at a prestigious museum, or right in front of you at your local supermarket, but never as you expect.” The message is as loud as it is clear: according to ‘Das leben am Haverkamp’, fashion is more fun when separated from conventions and restrictions, surprising and mesmerizing anyone, anywhere, any time.
While their intentions are set, combining four different mind-sets ought to be a challenging phenomenon. However in this case it appears to function in their benefit, using their differences as an empowerment. Where Christa focuses on combining aspects of different cultures, Gino intertwines classic with ethnic. Anouk explores the alienation of the body and Dewi brings in the playful, imaginary aspect. All this combined, it seems the general theme of ‘Das leben am Haverkamp’ is playing with the tension between normality and abnormality, causing a spectacle of surrealistic images, uncharted silhouettes, and unseen fabric combinations, forming a entirety that is as astounding as it is coherent.
Their latest project breaths the philosophy they’ve meticulously created over the past two years. Ornamenting an aged man from top to bottom and putting him on stage for Mercedes-Benz Amsterdam Fashion Week was unquestionably the most unconventional act of the week. They baptized it Gelificifashion, another delightfully weird piece of work to join a collection of lightning glasses and Leggo trousers, fish sculptures and hair art. Quite a portfolio if you ask me.
Presenting one collection a year collectively, ‘Das leben am Haverkamp’ aims to make people more aware of the value of clothing and discard the interpretation of it as a disposable item. As the rest of their time will be occupied by focusing on collaborations and smaller, more experimental projects, we ought to see a lot more from the designers in the future, whether that is as team or as individuals.
We interview Frankie Shea, founder of Moniker Art Fair
Moniker Art Fair returns for its sixth year, on October 15–18 at the Old Truman Brewery, having firmly established itself as London’s premiere event for contemporary art with its roots embedded in urban culture.
Moniker 2014
Moniker Art Fair returns for its sixth year, on October 15–18 at the Old Truman Brewery, having firmly established itself as London’s premiere event for contemporary art with its roots embedded in urban culture.
Building on the foundations of five years experience and it’s continued success, Moniker Art Fair will be again venue-sharing with London’s leading artist-led fair, The Other Art Fair, in what will be a showcase of independent and established talent all under one roof in East London’s iconic Old Truman Brewery.
This exciting spectacle will attract 14,000-plus visitors to the capital’s East End, forming one of the major satellite events of London’s Art Week when 60,000 visitors descend on the city to form an unparalleled international art audience. The partnership emphasises both fairs formidable reputations for showcasing artists operating under the radar of the traditional art establishment. Over a period of four days and across 21,000 sq. feet in The Old Truman Brewery’s impressive interior, this compelling combination promises to generate much interest and exposure this coming October.
BM - Why did you decide to start an art fair?
FS - The fair was started out of frustration.
I was running a gallery and representing several artists within the street art genre with great success. The artists I worked with had strong primary and secondary markets and I was keen to secure wider exposure for them but found it difficult to break into the UK art fair circuit. So in keeping with the ‘do-it-yourself’ street art ethos, I decided to form my own fair focusing on street art and its related subcultures.
BM - Does the name Moniker refer to the use of pseudonyms by many street artists?
FS – Yes. I was working with friend and artist Felix Berube (AKA Labrona), a Canadian freight train painter who told me all about Moniker Culture and the Hobos of America. I registered ‘Moniker Projects’ as a domain name before I even thought of the fair I think.
BM - What sets Moniker apart from all the other art fairs that are so ubiquitous this time of year?
FS – We’ve established ourselves as London’s premiere event for contemporary art with its roots embedded in urban culture. This is what ties the fair together and we have firmly put East London back on the art fair map in doing so. We’re an unpretentious fair, accessible and unpretentious. You won’t find many obscure pictures on white walls with gallery assistants glaring at you at our fair. Every day is fun, we are known for generating a friendly unintimidating art buying atmosphere. It’s become one of the highlights of London’s Art Week for many people.
BM - You have decided to accept Bitcoins this year, why is this?
Nick Walker, Decibel No.1 . Art of Patron space curated and produced by Moniker Projects
FS – A mixture of reasons. I met several people from the Bitcoin community this year who really sold the benefits of the digital currency to me. Plus they were genuinely nice people who welcome social change. I wanted to know more about the decentralised system so decided to curate a 50ft Bitcoin inspired installation that will integrate artworks by Ben Eine, Schooney and Toonpunk. Bitcoin will be accepted as valid tender throughout the fair, not necessarily because we believe Bitcoin will our saviour(!), but exploring possible alternatives to the current financial system is a good thing.
BM - How do you select the Moniker-represented artists?
FS – Initially I like their art and then I like them. Sometimes it happens the other way around, I like the artist and begin to understand their work and their paintings may grow more and more on me.
BM - Which are the most exciting artists that we should look out for at this years fair?
FS – I’m looking forward to seeing work by SA artist Kilmany-Jo Liversage, Betz from Etam Cru, French Street artist Bom.k who debuts at the fair and Apolo Torres. Legendary Bristol stencil artist Nick Walker will be exhibiting his brand new ‘smoke series’ body of work in the Art of Patron space along side multidisciplinary artist Lauren Baker. The Renaissance is Now installation is going to be off the wall.
TIAF London
The Independent Art Fair London will be blowing us away again this year with 80 contemporary independent creatives from all over the world.
When? October 14th-18th
Where? Rag Factory, London
The Independent Art Fair London will be blowing us away again this year with 80 contemporary independent creatives from all over the world. Offering new talent as well as established artists the opportunity to showcase their work amongst others forms an inspiring environment full of photography, installation, video, painting, sculpture and every other way creativity can take form. The exhibition takes place in the heart of Brick Lane, in the eminent Rag Factory.
5 London Art Fairs you can’t say no to
Have you ever heard of the phenomenon ‘the fear of missing out’? Well then you better get rid of all plans in your agenda and all excuses in the making, as these 5 London Art Fairs are too good to pass on.
When.. October 15-18th
Where.. Old Truman Brewery
Besides bringing 130 emerging talents to the stage and enlightening you with the next big thing in terms of art, the ‘other’ in ‘The Other Art Fair’ stands for more than you can possibly want from a creative event like this. Besides innovative creative workshops for the curious and intrepid amongst us, talks by art experts and past exhibitors, shows, films and installations, there will also be a surprise event that most likely will knock you off your feet.
When? December 4th-6th
Where? Bargehouse at Oxo Tower Wharf
If you are obsessed with graphic design, print and everything illustration based, The London Illustration Fair, which has earned the title of the only London based event dedicated to illustration, will feel like utopia to you. Bringing buyers and artists together in one creative environment, the fair has both an eclectic audience as well as a massive assortment of cutting-edge artworks.
When.. October 14-17th
Where.. The south end of Regent’s Park
With 160 galleries from over 25 countries in the world, it is safe to say Frieze London is the most impressive contemporary art fair in London. Celebrating its 13th anniversary, the fair goes big, presenting contributions by artists such as Asad Raza, Jeremy Herbert, Lutz Bacher and winner of the Frieze Artist Award 2015 Rachel Rose. Organising inspiring talks, interactive installations, underground chambers and the return of the beautiful Sculpture Park, Frieze London is a feast for the senses.
When.. November 8th
Where.. Bloomsbury Holliday Inn
This boutique-style photography fair will astonish you with vintage masterpieces, unusual findings, and an abundance of specialist knowledge. Whether you are there to absorb the nostalgic atmosphere or to browse for photos that complete your collection, London Photography Fair will leave a mark on your memory.
Image via www.widewalls.ch
When.. October 15-18th
Where.. Old Truman Brewery
Celebrating urban culture within contemporary art, Moniker Art Fair brings something unique to the scene and foundations of a matchless experience. Voicing a new generation of street artists and introducing Bitcoin to art fans, it challenges the status quo.
Africa Utopia 2015 art and ideas from Africa that are impacting the world
AFRICA UTOPIA was back for a third year – bigger and better. We interview designer SOBOYE.
Toumani Diabate, Baba Maal, Damon Albarn ,Tony Allen. Photo by Ade Omoloja
This year was one breath-taking summer for arts, music, dance and fashion festivals in London. What is more? The recently concluded third edition of the Africa Utopia Festival was one of the capital's forthright and most spectacular festival ever, celebrating all aspect of the creative arts industry.
Africa Utopia was a creative explosion of Jedi proportion that featured performance arts, music, dance, fashion, theatre, visual-techno art exhibition, family events and mouth-watering food market and much more besides. The whole shebang was spread out - in the streets, galleries, library, public buildings, and every available space and corner of London’s most vibrant cultural quarters – The Southbank Centre. This four-day fiesta enthused by the African continent and Diaspora delved into the dynamic and ever-changing contribution of modern Africa to art, culture and ultimately to our society. Organisers hope the festival will also help make connections between artists and activists, get more accessible; to engage.
Discussions and debates deliberated on sustainability vs profit, digital journalism and digital activism, youth education and power to African feminism. Furthermore, in a nod to the present refugee crisis, the migration debate asked the question: “Why do people flee? What awaits them where, and if they reach their destination?” It’s a question for us all to ponder on at this time. The Talks/Debates consisted of defining speakers including the traditional suspect, journalist, author and arts programmer Ethiopian-born Hannah Pool, who must be noted has been involved in Africa Utopia from the very start. Next in line is singer-song-writer and UN Ambassador for HIV/AIDS Malian, Baaba Maal, who also has been involved with AU from its birth. As well as Jude Kelly CBE, Artistic Director, Southbank Centre. The lot are experts in contemporary art, art history, music and green politics, each addressing the historical relevance of arts and culture - including the power of art in activism and the role of women and young people who have made a huge contribution to our arts as part of our lives and still motivates us all in creating future change. These themes are conceived to appeal to taste, of all ages, colour, cultural aficionados and newcomers alike.
Chineke Junior Orchestra with founder Chi Chi Nwanoku and conductor Wayne Marshall. Photo by Ade Omoloja
Even more so, the tune line-up was a must-hear for anyone and everyone fascinated by great live performing. First on stage was Malian singer Kassé Mady Diabaté of royal stock and acknowledged as one of West Africa's finest singers. He was accompanied by fellow Malians: Ballaké Sissoko, a noted player of the kora; Lansiné Kouyaté performing on Kora & Balafon (The balafon, also known as balafo is a wooden xylophone - percussion idiophone from West Africa) and Makan Tounkara, a gifted composer, arranger, singer, and n'goni artiste. (The n’goni, an ancient traditional lute found throughout West Africa). To bring the festival to a close was the master of it all - Nigeria’s Tony Allen with friends. And oh boy were they great!
Tony, is a skilful drummer, composer and songwriter and once musical director of late Fela Anikulapo Kuti's band Africa 70 from 1968 to 1979. Furthermore, he’s famed as the powerhouse behind the late Fela Kuti’s Afrobeat movement. It’s recognised that Fela said: “without Tony Allen, there would be no Afrobeat music”. In alliance with Tony on stage; Baaba Maal, multi award-winning singer/song writer and Toumani Diabaté, a Malian kora player, genius of African music and widely recognised as the greatest living kora player. And in a rare father-and-son kora-playing collaboration, Toumani Diabaté and his son Sidiki Diabaté put down a spell-binding presentation. It was a mind-blowing ensemble. A-ma-zing! And to put the last bit on the Tony Allen and friend’s fusion was French star rapper Oxmo Puccino (born Abdoulaye Diarra) a hip hop musician born in Mali. The whole shebang brought the house down. It was a high octane musical extravaganza of fantastic proportion that received a rapturous reception at every song and every notes that rings out. These musicians nailed and killed it in equal measures. There was an eight minute standing ovation. For a man who turned 75 in August, Tony Oladipo Allen, is remarkably springily. He still hits the studio (and treadmill, I suppose) every day. He is just as you’d imagine, small, frail and thin looking, dressed in a classic white African traditional classic number with bold abstract designs and he outdone it with a white Fedora Hat. Maybe this is what comes from churning out some five gigs a year for over 50 years. He has delivered some of the music most indelible music albums and concerts from Africa to Europe and North America to Australia and the Americas – straight-up.
Toumani and Sidiki Diabate, Baba Maal. Photo by Ade Omoloja
With all the serious shows and presentations that took place, however, the three that stood-out for the festival – in my modest view - are the music performances and fashion presentation curated by Samson Saboye, of Nigerian parentage, from Shoreditch-London. Soboye brings together a team of leading designers from Africa and the African Diaspora to present an inspirational and exciting women’s wear, menswear and accessories.
“I’ve been a Fashion Stylist for many years now with a spell designing and manufacturing soft furnishings, which led me to open SOBOYE.
Africa Utopia is a great showcase to celebrate the importance and significance African Culture to the rest of the World. London has the highest population of African nationals from all over the continent and the contribution that Africans have made to the city is noteworthy. Our presentation is called DIASPORA CALLING! A presentation of African Contemporary style, inspired by Street Style photography. Our show producer Agnes Cazin from Haiti 73 Agency conceived the concept as we were searching of different ways to present fashion that was away from a traditional catwalk show. We are showing the diversity of Africa that will linger on even after the festival: the Joy, the vibrancy and richness of its people, who mostly have an innate sense of style that is not dictated by the latest trends or Designer head-to-looks. The Modern Style-conscious African’s style is a mash-up of pop culture, vintage clothes, self-made fashion and images fed daily through Instagram and Pinterest, of which they are fully engaged in. All these influences are absorbed in to the visual memory banks and stored for future referencing at any time. This then in turn manifests itself in the Individualist looks that we see influencing mainstream Western style today”.
On the small matter of who SOBOYE designs for: “SOBOYE designs are for the fashion savvy, confident, style literate person, with their fingers on the pulse and a zest for life. The Women’s wear came a year after the Men’s collection and is designed in collaboration with Designer and friend Chi Chi Chinakwe”. (A moniker moment in this festival is the premiere of Chineke, the UK’s first professional classical orchestra made up entirely of musicians of African descent and minority ethnic classical artists performed a tribute to the black teenager Steven Lawrence that was murdered in a raciest attack in 1995) Soboye expressed: “Our customers tend be in the creative industries and have an eye for well fitting, original clothes with an attention to detail. Our clothes add to the enjoyment of dressing up and I’ve yet to see someone wear any of our pieces and not look and feel better for wearing them… Sidney Poitier is my all-time style icon. Not only was he well-dressed, he always carried himself with such dignity and broke so many barriers by being such an accomplished actor. Currently Pharrell Williams and Solange Knowles would both be great brand ambassadors for SOBOYE." So if they are both reading this come on in… we are waiting for you. Yes, of course they read roomsmagazine.com.
Beside ambitious philosophy in the horizon: What does the future hold for Samson Soboye? “We plan to expand our online business and build the brand. We’d like to secure good investment to consolidate the business and allow for expansion and growth and for that to be manageable. We’d like to be the ‘go-to’ brand for the talented, ambitious discerning globe trotter “.
Artists and Scientists at Music Tech Fest
The exciting formula for championing future creative and technological collaboration in music. We interview Andrew Dubber, Music Tech Fest's Director.
Soft Revolvers by Myriam Bleau
Andrew Dubber, Music Tech Fest’s director, explains to me the freedom Music Tech Fest fosters in joining creative musicians and technological minds in an all-inclusive environment – the aim is to ultimately liberate the music technology scene and revel in the mayhem that ensues.
How and why was 'Music Tech Fest' conceived and what developments has it gone through to make it the internationally-reaching community it is today?
I wasn’t there for the first Music Tech Fest. It was something that came out of the European Road Map for the Future of Music Information Research. Michela Magas was the scientific director for that project - and was the founder of the Music Tech Fest. The idea was to bring together artists and scientists, academics and industry in a ‘hands on’ experimental environment - rather than just a conference. I came along to the second one and, like most people who now work for MTF - I basically just never went home. I was asked to take on the role of director of the festival, and we have had invitations - sometimes through some of my own professional connections - to bring the event to different cities. It’s different everywhere we do it, and we learn a lot by doing each one. But what makes it work is the fact that it brings together such a diverse range of brilliant and interesting people. It’s not a matter of controlling the outcome. You put them together in a room and watch what happens.
Why do you think it is important for musicians working with technology to meet face to face in a world saturated by online ‘music technology’ content?
I don’t think it’s necessarily important for musicians to meet each other face to face. It’s nice, just as any personal human interaction is nice. But there’s a lot that can be done through online collaboration between people who have the same language and mode of working. What’s important is that they meet *other types of people* with different skills and frames of thinking. People who aren’t musicians, but bring something else to music. And to make that work, people need to build something together. If you want to innovate in music, you need creative technologists, designers, hackers, musicians, artists, product designers, music industry people - a whole range of different minds. That’s what the face to face stuff is for. You get people working collaboratively and it opens up all sorts of unimagined possibilities.
‘Music Tech Fest’ seems different in that you pride yourself on being ‘a community with a festival, not a festival with a community’ - why is it important to 'bring down' the hierarchy that a lot of creative ‘festivals’ have and somewhat ‘level the playing-field’ for musicians working with technology?
There are a few important things here. First - we want to remove barriers to participation. Anyone who wants to play music, make technologies, hack, research or find out about music technologies should not be prevented from doing so because of financial restrictions. Second, it’s important to us that things that happen at Music Tech Fest have a life beyond the festival. New projects begin, new businesses are formed, new art installations are imagined, new performances planned - that sort of thing. That’s what Music Tech Fest is for. It’s a catalyst for the community. Where people come together, get exposed to new concepts and experiences, meet new people, have interesting discussions, make new prototypes and so on - but then go off to develop those further and maybe come back and showcase those things on the main stage at a later Music Tech Fest.
A lot of the creative developments in the ‘music tech’ world aren’t solely to do with music anymore - how and why is cross-collaboration in artistic mediums important and how does ‘Music Tech Fest’ foster these concepts?
The edges where music stops and other stuff starts has always been blurred - but now more than ever. We’re interested in music for its own sake, because music is amazing - and we’re also interested in music as a tool for other things (social change, industrial innovation, education…). Music is something pretty much everyone has a relationship with in one way or another. It’s the bit that connects the tech-heads with the artistic people, the academics with the industry. We’re working with Volvo trucks and Philips lighting. Those organisations might not be thought of as music related, but they see the value of a transversal approach to innovation, and music as a galvanising force that gets young people interested in technology and engineering. The cross-collaboration in the arts is especially important in an age of computing because the artificial barriers between storytelling, music, film, visual arts - even taste and touch - are broken down in our increasingly synaesthetic and multi-modal world.
The improvements and accessibility of technology in general is something that is obviously allowing more people to engage with it. How has the festival engaged with the issues of inaccessibility to technology to allow a wider engagement with music tech?
It’s a really important strand of what we do. For instance, we’re working closely with a number of organisations who are focused on using technology to remove barriers to participation for people with disabilities. We encourage our hackers to keep accessibility in mind when developing any new projects and we showcase projects that are about making music available to more people in more places - for instance, the One Handed Musical Instrument (OHMI) Trust, Drake Music and Human Instruments. It’s also a key part of our #MTFResearch network principles. The Manifesto for the Future of Music Technology Research, which came about as a response to the Music Tech Fest we held at Microsoft Research in Boston. See: http://musictechifesto.org
All images courtesy of Andrew Dubber
Justin Vernon returns with his very own Music and Arts Festival | Eaux Claires 2015
If there had to be one man who’s successfully captured the essence of a gruelling bitter heartache and put it into song, then it’s Bon Iver’s front man Justin Vernon.
If there had to be one man who’s successfully captured the essence of a gruelling bitter heartache and put it into song, then it’s Bon Iver’s front man Justin Vernon.
Image via Eaux Claires
And four seemingly quiet years later he’s returned, bursting with high–held visions that speak to a man and a mind that was never quite done with playing in the woods of Eau Claire. This July marked the first Eaux Claire Music and Arts Festival and for those lucky enough to have nabbed a ticket, Vernon secured quite the line up. Among them, Sylvan Esso, The Tallest Man on Earth, Spoon, Sufjan Stevens, Francis and the Lights, Liturgy, the National and the much-anticipated return of Bon Iver.
When Justin took to burying his past in the snow-covered woods of Eau Claire, the result was a desolating infusion of guitar chords and soul destroying-ly beautiful lyrics. So much so that it came as no surprise when a friend mistook Vernon’s song writing for no more than a sympathy calling, feverish attempt to lure us deep into the cracks of a gut wrenching, stab in the heart Bridget Jones kinda break up. But delve in a little closer and you will discover something quite the opposite. In just two albums, Justin Vernon showed an astounding ability to take us on a journey of heartbreak, bitter resentment and ultimately hope, reaching far beyond the soppy I need wine calling love song and very quickly turning into an indie folk prodigy.
Friday at Flambeaux, Hiss Golden Messenger. Photo by: Zoe Prinds-Flash Photography
Bon Iver’s first album in 2008 For Emma, Forever ago effortlessly captured Vernon’s bitter heart-ache in a string of dark, subdued songs, absent mindedly sung and backed only by the bare strings of his acoustic guitar. In The Wolves (Act I and II) Vernon layers his vocals to project anguish, climaxing with an electrifying, soul infused clashing of chords that are quickly counterbalanced by the familiar undertones of his soft guitar strumming | ‘Someday my pain will mark you’ | he utters. And then there are other more fragile tracks like Re Stacks; so reassuringly simple but indicative of a man’s ability to use his own, pure voice to take comfort in his troubles and serving to remind us that we are all human, after all. ‘To me, it is not about getting over things and moving forward, it is about going through the sadness, taking some of it with you and being made whole because of it’.
Bon Iver. Photo by: Graham Tolbert
Bon Iver’s self titled album in 2011 marked a turning point in Vernon’s life and his first foray into multi tracking, transforming his music into something so alive that you could almost feel Justin emerging from his cabin in the woods, soaking up the joys of spring in the rich pulsating guitar melody that introduces ‘Towers’ and the blissfully potent humming that features in the one and a half minute track ‘Lisbon’.
As Vernon explained, this festival was designed to melt away the music-genre-walls that we have become so accustomed to and to create an experience that goes far beyond any ordinary festival and boy, he delivered. In a setting sat very close to Vernon’s heart, Eaux Claire bragged an impressive roster of musicians, actors, filmmakers and visual artists, reveling as one to unite in a collision of artistic forces, on a stage unique to its own and in the comfort of Vernon’s very own home, Eau Claire.
Eaux Claires Festival July 17 – 18, WI | eauxclaires.com
An interview with illustrator Davide Bart Salvemini
Italian artist Davide Bart Salvemini lets us in to his weird and wonderful world of illustration. Keep your eyes peeled and your screen brightness dimmed.
Italian artist Davide Bart Salvemini lets us in to his weird and wonderful world of illustration. Keep your eyes peeled and your screen brightness dimmed.
There’s an almost childlike fantasy about his work. His illustrations are at times, surrealist, comical and touching. But they are always vivid, and moving in their own flamboyant way. He’s more than an illustrator and an animator. He’s a holistic artist, taking on inspiration from all forms – and utilising that to create his own magical pieces. And magical they are.
Maybe it’s the subject matter or maybe it’s the bright use of colour, but I always feel somewhat regressive when I see his work. The inner child in me is enchanted, whilst the adult in me is intrigued. And such intrigue is terribly insatiable. So I whipped up a few questions, and served them to the man himself.
Could you tell us a bit about your past? How did your upbringing lead you to become an artist?
It all started with a white paper and some colours. Afterwards I understood that I would never be a crazy scientist (I dislike chemistry) or an airplane pilot (I’m very tall). I thought that it would be great to make a living out of my art and on my schedules (very long nights).
In the first period [of my life] I had unrelated jobs like volleyball player, shoes seller, barman and photographer, and also a diploma in electronics and a first year in a criminology university. Then I took a master’s degree in Illustration and I realized that was my path.
Your art really reminds me of Jim Woodring’s work. Jim has previously stated that his surreal pieces are inspired by hallucinations that he experiences. Do you also have similar inspirations or is your creative process entirely different?
I’m honoured by your words, because I love Jim Woodring and his Frank!
I like to think that my mind is like a sponge, it absorbs everything that it sees from books, films, games, toys and also daily events. I note everything, building a visual atlas. Then, unconsciously linking the pieces of my atlas, I find a message and the future drawing.
Who are your favourite contemporary artists?
Observing the art in all forms, I love Simone Pellegrini’s paintings, illustrations by Sarah Mazzetti, Laurent Impeduglia, Henning Wagenbreth, Moebius, comics by Jim Woodring, Charles Burns, Cocco Bill, movies by Cronenberg, Tarantino, Lynch, Lars Von Trier, Zack Snyder, Jim Jarmusch, Guy Ritchie, and William Eggleston’s photos.
There are also three up-and-coming artists that I follow and I would like introduce: Caterina Morigi link, Alice Socal link and Nadia Pillon link.
I think that it’s very essential to have many “heroes” from whom to “steal”!
Francis Bacon once said the job of the artist is always to deepen the mystery. How do you feel about this as an illustrator?
I think that the creative artefact is more powerful when the observer is thoughtful in their mind, as if he had the last piece of puzzle. In an illustration it’s more important. When you illustrate an article, a book or simply thinking, you shouldn’t be descriptive, because the illustration must only help the text, and not suppress it.
In an interview you’ve previously said that Dante’s Inferno is a big inspiration for you. Could you tell us more about that?
Between the Dante’s circles, the hell is the most fantastic and contemporary. There are more signs and beautiful character that inspired me this project: link. I love monsters and ferocious scenarios. Dante’s hell is my heaven.
If you could work with any other media, what would it be?
In this period I would like to have more time to do animation, because I think that is like to see the magical growth of an organism. But just like Nature, you need a lot of time to develop a motion. I have some experiments in this link. I hope they are interesting for you.
And finally, do you have any future projects lined up you can tell us about?
I’m working on two private commission, one for an independent illustration children’s book and the other for a series of five illustrations for a family portrait. You will see the results by the end of the year. Also I have an idea for a crazy script, but I still don’t know if it will be a comic or a children’s illustration book. We’ll see.
instagram.com/davidebartsalvemini
cargocollective.com/davidebartsalvemini
davidebartsalvemini.tumblr.com
behance.net/davidebartsalvemini
The Guerrilla Girls turned 30; let’s talk about women
Inspired by the social activist group Guerrilla Girls, we take a look at some important female artists working now.
With contemporary art having a great focus on social and political issues and agendas, the subject of equality between the sexes in the art world is an important subject under much debate. Many say female artists are not given fair treatment or enough exposure by the art institutions however others argue that there are plenty of female artists and that it is the pay that is widely unequal.
Many female artists directly address the topic of gender inequality in both art and society as a whole. The anonymous group known as Guerrilla Girls is a massive source of feminist activist inspiration for bringing about racial and gender equality. To celebrate the 30th anniversary of the group's founding, we think now is an especially relevant time to look at some women who make a significant contribution to art and creativity.
Michele Abeles’ work is about digital age of images, commodity and how people are reduced to being as insignificant as mundane objects. She combines everyday objects with nude males, using a photography process that flattens the collage of objects and people into a camouflaged Where’s Wally work which slowly reveals more parts of itself as the viewer looks on, literally reducing people to consumable generic items. For the artist, the nudes photographed in her work are as insignificant as the objects surrounding it. Abeles uses copyrighted images found on Google and edits them to create altered scales making the image almost surreal. This work is in response to how images are viewed in the digital age. We see so many layers of visual information, how much do we absorb it and in what way?
The infamous Tracey Emin is most famous for works like Everyone I Have Ever Slept With, a tent with walls of appliquéd names inside and My Bed, an installation of Emin’s unmade bed of used condoms and bloody, dirty underwear. Despite this work being some years ago now, Emin is still very present in contributing to the art world as well as selling her work to high bidders. She is an important role model as a successful and motivated female artist who makes no apologies.
Who Made Your Pants is a campaign running in Southampton, England. Becky John founds the brand and she buys material from big underwear companies at the end of the season to prevent it being wasted. Formed especially to empower women, the co-operative employ female refugees through support agencies to make and sew the pants. However, they also run kind of pop up environments where the customer can chose the fabric and sew their own pair of pants. This kind of work, I believe, is a very effective way of bringing participation based social art into the public sphere and addressing the taboo of making money from conceptual art.
Ghada Amers work addresses gender and sexuality within art using embroidery and paint to reference abstracted pornographic images of women. She challenges the male dominance and ownership of art. She uses paint abstractly, which she sees as having been made symbolic and dominant in history by men. And so by using this, she is occupying a territory, which has previously been denied to women. Simultaneously, by using uses embroidery, a practice associated with the feminine, to make a further political statement about gender.
Kara Walker uses black paper cut outs to make silhouettes exploring race, gender, sexuality and other social issues. She depicts sex and slavery and deems the viewers discomfort necessary when confronted with this. Her work investigates the dark capabilities of what people can and have done throughout history, and investigates the inability to accept the past.
The argument that feminism is no longer necessary because the sexes are equal is a statement that is wildly inaccurate due to many reasons in western culture alone, without taking into account the many parts of the world in which women aren’t afforded basic human rights. We still a long way to go inside and outside of art until we reach equality but these artists are a part of making that a reality.
I Wanna Destroy (Sacred Objects From Suburban Homes) – A forthcoming performance by EMA
Musician and multimedia artist Erika M. Anderson (EMA) ensnares us into her own world of music, spoken word and virtual reality at the Barbican.
Image via © Barbican
Musician and multimedia artist Erika M. Anderson (EMA) ensnares us into her own world of music, spoken word and virtual reality at the Barbican.
Portland-based artist EMA can be described as a bit of an avant-gardist. Her most recent album, The Future’s Void, is about the Internet and the ever-encroaching virtualisation of society. She’s an artist that isn’t afraid of commenting on the digital world. And her upcoming performance, I Wanna Destroy, accomplishes that and more.
You’re taken into her immersive virtual-reality word. A nifty device known as an Oculus rift further glorifies the full experience. It’s a virtual-reality headgear that, when accompanied by the music, can fully channel the solemn and poignant environment that EMA creates.
Excerpt from EMA’s I Wanna Destroy performance in Queens, New York.
I Wanna Destroy is a part of Doug Aitken’s 1 month long exhibition, Station to Station: A 30 Day Happening. A project of his that brings ‘together a fusion of leading international and UK-based’ contemporary artists in all fields, including EMA. Her collaboration with developer Zach Krausnick and the software company, Chroma are what allow this unique cybernetic world to exist.
This performance has already proved to be a success in the states, and it’s now travelling across the pond. It’s come for those select few who wish to turn on the virtual-world, tune in to her sound, and drop out at the Barbican.
Tickets available here
7th July at 19:30, Art Gallery. Barbican Centre, Silk Street EC2Y 8DS
Making art about food waste: Interview with artist Louiza Hamidi
For Louiza Hamidi, it is our conceptual exploration that reclaims moments as art. And she likes to make art about food waste.
For Louiza Hamidi, it is our conceptual exploration that reclaims moments as art. And she likes to make art about food waste.
I met Louiza Hamidi a few years ago when we studied together for our fine art degree, we have remained friends and collaborated on many works to varying degrees. Louiza and I collaborate on our pop up installation Food Waste Café, where we cook and serve food waste to visitors in a restaurant setting, but Louiza has been very busy with food waste since her degree. She has embarked on a food waste tour of England, exploring how food waste is managed in other cities, she has completed a half marathon fuelled by food waste and she has invested a great deal of time into collecting food waste from supermarkets and distributing it through Curb, an active food waste campaign operating on a pay as you feel basis.
With the new French law coming into effect requiring supermarkets to deal with food waste more responsibly; I speak to Louiza about what she’s doing and her thoughts on the current food waste situation.
How did you become interested in the issue of food waste?
I had been experimenting with different ideas around ‘sustainable living’ for years, becoming increasingly aware of my own consumption and critical of consumer culture. Foraging for food in bins was just the next step on the journey! I became very interested in the creative form of eating with one another, whilst simultaneously exploring the use of artistic processes as a tool for socio-political change.
How do supermarkets react with your requests for their food waste?
I am yet to collect from the bigger supermarkets but I do collect from local stores, community events and food banks. Requests can be a bit of a shock at first. I think people fear judgement, so sometimes owners or staff lie to me claiming they have zero waste. Once, I had been asking for food from an organization that told me multiple times that they didn’t have waste. Out of the blue, I received a call one-day saying that my request had not left their mind and that they had come to terms with the fact that they do have waste. She asked if I could come in and pick up the surplus that she now believed to exist! It was an amazing, amazing moment for me. We’d planted an idea, and been patient. We’d built trust and challenged pre-existing fear/shame about waste. It really confirmed that there is so much potential when stores say no, as it’s the invisible thought processes that continue out of our control that will make positive impact.
What is Curb?
Curb is solely a food waste campaign. We have a business plan that works toward putting itself out of business.
Curb recently faced the issue of turning up to an event with cooked food and being told they couldn’t serve it. Does Curb face these kinds of obstacles often?
This was the first time that we’d turned up and been told we couldn’t serve our food. This was not because of health and safety, or because the food was once deemed ‘waste’ but because there was confusion within the organization of the festival. It is a real-life problem that caterers who are charging prices for food at festivals, are going to need to cover their overheads. The caterer was just upset and fearful of other people sharing food as she saw us as competition. We were very understanding, compromised a great deal, but we were not going to let our beautiful food go to waste!
How do you deal with the legality of serving out of date food?
I just do it. I think there are times when corporate law has its place, and there are times when it doesn’t. I feel the issue of food waste is because we don’t listen to common law. We are people of the planet and there is food that is safe to eat being wasted, due to profiteering, constructed policies and beauty ideals. The bottom line of Curb is to disrupt this. However, in order to acquire and rescue the most food from being wasted, I have to compromise with the system at the moment and make sure there is no reason why food businesses can say that they ‘can’t’ give us their surplus. I abide by everything we need to in order to push forward our campaign – but I’m always honest about the contradictions and make sure I share these kinds of dilemmas with people in conversations.
Do you think the new laws in France are useful and will they be effective?
I think that the use and effectiveness that will come out of them is essentially getting food waste onto public and political agenda. I don’t think it will make much difference to the reality of food waste, as laws are very easy to get around if you’re a big corporation that makes lots of money and works with the government.
I think it’s excellent as a first step, but I find it so problematic! Distributing food waste to charities and non-profits is actually just moving the responsibility to those in the third sector. This has been hugely devastating for decades and is never a solution! It merely removes moral, social, ethical and environmental conscience away from those systems and institutions that cause it and on top of that, it passes on the weight, time, cost and conscience to those working with extreme effort to combat their mistakes. We need to get to the root, but I appreciate this kind of legislative change (whether truly enforced or not) is definitely the first step in the right direction.
And finally, how can we make changes to food waste in the UK or even globally?
As a human race, I think we need to rediscover our connection with food. I believe that we are only so wasteful because we have little to no respect for food. We are completely blinded by a construction of what food is – hidden away from all parts of the food chain and only exposed to food as a commodity to buy/sell. Most of us only experience food at the Retail part of the system.
If we could disrupt this idea individually and on a society level, we would have so much more respect for food. We need to become conscious of what is on our plate, where it comes from, how it grows, what it does to sustain life, how much value it has and what it means to share food with others… then I don’t think we would create policies, legislation or practices that puts colossal amounts of good food to waste!
This is what Pay As You Feel is all about for me. This is why Curb exists.
Art and activism; French supermarkets and food waste in the UK
With the recent news of France’s new law prohibiting supermarkets from discarding edible food, there has been a sharp increase in discussion about food waste in the public eye.
With the recent news of France’s new law prohibiting supermarkets from discarding edible food, there has been a sharp increase in discussion about food waste in the public eye.
France’s new food waste law is certainly a step in the right direction regarding responsible management of waste by corporations; however, this triumph is only a small part of the way to go and is problematic in many ways. Though public perception may see this development as the supermarket waste problem solved, many UK supermarkets have been claiming for years that they send their food waste to charities. This may be a surprise to those celebrating the Tesco CEO’s only recent public commitment to do the same; Tesco are possibly just catching up with their competitors. Waitrose’s website for example states that food fit for consumption is donated to local charities. From my own experience of dumpster diving, I know for a fact that this is incredibly misleading at the very least. My friends and I have recovered over a tonne in a few months from supermarket bins in one town.
Another issue with the French law is that it doesn’t address the cause for so much waste, the problem is simply being redirected, the responsibility is being passed on. Many charities that gratefully accept donations of food are given much more than they can distribute, meaning they still have to throw it away and in addition they must pay for the waste disposal. It is also unlikely that charities will have an arrangement for anaerobic digestion and so the food ends up in landfill, a worse fate than before. Companies like FareShare in the UK accept food from supermarkets and distribute it to charities. However, Fareshare disposes of donated food after a certain time period of having received it regardless of its use by date.
With waste being wrapped in so many layers of secrecy, law and bureaucracy it can leave individuals feeling powerless and uncertain of how to make an impact or change but there are many artists and movements in the UK taking action within their community to get people talking and bring these issues to the public agenda.
Disco Soup is a food waste movement sweeping Europe, an unlikely combination of food waste, cooking and disco. Originating in Germany as Schnippel Disko organised by Slow Food Youth Deutschland, the movement has been going strong for a few years now, recently having grown to be very popular in France as Disco Soupe. At these events, participants peel and cut salvaged veg in a party environment to create a dish to eat. The movement carries with it no element of monetary exchange, no sense of entitlement but a whole lot of community atmosphere. It is free flowing, anyone can organise one; simply combine a venue, a DJ, food waste and lots of dance ready participants.
Another inspirational and devoted activist in food waste is Louiza Hamidi, an artist I lived with and collaborated with during our degree. We continue to work together with our pop up installation/participation Food Waste Café, where we cook and serve food waste to visitors in a restaurant setting but aside from that Louiza is incredibly active with food waste in her community. She now runs Curb, an active food waste campaign operating on a pay as you feel basis, investing a great deal of time into collecting food waste from supermarkets and distributing it to the public. Despite the legally questionable ground of distributing food that has passed its sell by date, she is persistence and challenges the logic and validity of these laws allowing such waste to continue.
Artists like these are part of the driving force for changes in law, attitude and practices regarding waste, if not ethical conduct entirely. Although the fight to stop waste has already been going for decades, now is an important time to focus on waste and artists who work with these issues are crucial to inspire and motivate others to take direct action in combating them. Despite any criticisms France's new law faces, it reflects that this is an issue the public care about, it means supermarkets are legally bound to do what they claim to do already and it is certainly a step in the right direction.
URBAN KINGS: A solo exhibition with Gonny Van Hulst
To artistically imbue socio-political themes on an unforgiving medium such as glass is no easy task. But London-based artist Gonny Van Hulst (also known as GonnyGlass) manages just that.
To artistically imbue socio-political themes on an unforgiving medium such as glass is no easy task. But London-based artist Gonny Van Hulst (also known as GonnyGlass) manages just that.
URBAN KINGS elevates the pest to the princely. The vermin to the valiant. The animals native to our concrete, urban environment are paid a royal homage in this exhibition. The Foxes, Rats, Pigeons, Squirrels and Crows – all endemic to the city life – have had to adapt to their industrial surroundings and survive nonetheless. By depicting these crowned creatures in such a light, URBAN KINGS reminds us of our harmonious relationship with nature despite such an adversarial environment, and that we must celebrate all living things, no matter how big or small. These citified animals are enthroned on antique English glass, hot and cold cured photo-fusing prints, paint, lacquer, and hand-forged ironwork all framed in restored late 1800s Victorian timber.
URBAN KINGS by Gonny Van Hulst - 16th to 31st May 2015
PRIVATE VIEW: Friday 15th May 6:30-9pm
9 Turnpin Lane, Greenwich, London SE10 9JA
Opening Times: Thursdays –Sundays 11-6pm | Monday –Wednesday by appointment.
Pictoplasma Festival 2015 | An interview with cofounder Lars Denicke
This week the world’s leading and largest Berlin-based conference and festival of contemporary character design reopened its doors for the eleventh year running with a playground of character designs for us to feast our eyes on.
This week the world’s leading and largest Berlin-based conference and festival of contemporary character design reopened its doors for the eleventh year running with a playground of character designs for us to feast our eyes on. Kicking off with a talk by Helsinki based director and animator Lucas Zanotto, the festival showcases a plethora of talks, workshops and exhibitions by a stellar lineup of international artists, animators, graphic designers and more.
I caught up with co-founder Lars Denicke to chat about the festival, its origins and why Pictoplasma is that little bit more special than your average conference.
Pictoplasma and character design seem to embody a huge variety of different mediums, practices and domains, how would you best define the terms?
Characters aim at our empathy and emotional involvement and function around the very essence of what makes something an image: that it gives us ourselves, the feeling of being looked at. They often have an animist quality, as if they were real and alive, or at least create belief in a virtual existence, as a character in a play.
Characters also function on the principles of abstraction and reduction, as if they were typographic characters, taking away all arabesque details and contexts to maximize a common denominator for us to relate to, neglect of cultural difference. A post-digital play with media is a common strategy; artists and creators play with the same character design in different media. Many, for example, have a digital background for creation, and a longing to leave it behind and experiment with more permanent media. Staging the same character over and over again gives it a virtual identity, each single picture adds to depict this virtual character that supposes to exist somewhere else
How can we use character designs as tools to improve our own understanding of the real world?
Firstly, it’s hard to define the real world, but it is true we feel characters play with our understanding of reality in creating the virtual. Given this, they can increase our understanding of realities being relative to others, interdependent, constructed and not solidly defined. In their animist quality, they tickle us to reflect on the essence of what being alive involves.
“They tickle us to reflect on the essence of what being alive involves.”
Tell me about the initial stages of Pictoplasma and then the Festival, how did it develop? You began as an online and print based publication, right?
In1999 Peter started Pictoplasma as a research website, he came from animation and was looking for a new generation of characters that were more appealing, with fewer targeted audiences, less slaves to the ever same narration. This led to publications.
In 2004, coming from cultural studies and inspired by discourses of the iconic or pictorial turn, I joined Peter with the idea to make a conference out of it. We were looking for a way to present the loud, varied and playful aesthetics in a modest setting, so we thought a conference and not a festival or convention would be best. Just 40 minutes for an artist to talk about his/her creation. We managed to stick to this formula, as these talks get very personal – there is always a reason why someone creates these characters, and it gets through in every talk. Gallery exhibitions and animation screenings were part of this event from the very beginning, which made it a festival.
From 2006-2009 we started to produce ourselves, firstly giving characters designed by other artists a corporeality through the hands of costume designers who passed them on to dancers to discover how a character would change personality when having a certain body; then with installations that played with the idea of creating a world for us to get immersed - this culminated in the exhibition Prepare for Pictopia (2009, Haus der Kulturen der Welt, Berlin).
In 2010 we created the Missing Link, a character reflecting on the Yeti myth, and investigated artistic strategies of community, tribes and following in the digital age; this led to the exhibition Post-Digital Monsters (2011, La Gaîté lyrique, Paris). In 2012-13 we focused on characters in visual communication, the terror of photographic realism, and the commercial character as mascot, (White Noise, La Casa Encendida, Madrid 2013).
And then in 2014, the celebration of a decade of the festival was done in correspondence with the time-honoured genre of the portrait gallery, again giving each character that shaped our festival a place in an exhibition that performed the idea of being pre-digital, as in much earlier, or a memory of the digital age, as in much later.
NICOLAS MENARD
What makes Pictoplasma different to other conferences?
Pictoplasma encompasses all design practices – we don’t make a difference as such, we just follow characters, not the artists or concepts. Therefore it is open to all, it is not an elite fine art club as such. The contexts give the creation to the characters and we are accessible to all.
I think this is what is important. Often people are repelled by fine art, it’s an exclusive form of art, which character design tries not to be. Character design is a concept that is open to all and is rooted in the classic conference and exhibition style.
Is there a year that stands out for you?
2006 for me was a good year, the second big edition. It was that moment when you realise you’ve started something new. That feeling of continuity is very exciting. A bit like a puzzle, piecing it all together.
What is the theme for this year’s festival and the inspiration behind it?
Form Follows Empathy goes back to the basics of Pictoplasma and the empathic quality of characters. When everything gets so functional, tech-gadgety, planned characters remind us that we have to like things in order to be ready to interact. Obviously, it breaks with the Modernist credo (Form Follows Function), but not in a strict opposition: the graphic quality of many of the characters featured in the project obviously stand in a Modernist tradition.
German design is very serious and functional, with little space for fun at all. It is important to put a character on these things – it’s not just about pure function, you have to like it. Characters are there to remind us that it is not just about function but also appeal.
(Lars took the example of a mobile phone to demonstrate)
Mobile phones are like big eyes that watch you. They are completely fixed on the eye and the way you perceive things (such as watching, learning, touching). All very perfect. The appeal is neglected here and I think that, in the long run, the appeal has to be in a more comprehensive set up. The phone is now our mobile companion but is it our best companion? They improve function but what about empathy? Is the phone the right device for this? Form Follows Empathy plays with this idea.
A very interesting thought...
How is the digital age impacting contemporary character design today?
We started our project 1999 when the Internet became available for the masses, and implied the promise of a virtual world. In a time where photography was not yet that widespread due to slow data transmission of modems, graphical characters were the inhabitants of this supposed virtual world. At that time, the digital age informed the way characters looked. This is obviously over: we can play with styles and media and diffuse them instantly through digital media, so the digital age now is less about aesthetics and how characters look, but more about distribution and diffusion.
HIKARI SHIMODA
Now, the terror of photographic realism is everywhere - everything is depicted and consumed while we move. There seem to be less room available for characters, and yet the artistic production is blossoming. Maybe they function as an antidote to this photographic realism of today. And then there is the afore mentioned post-digital practice, where digital is just not interesting per se, but part of our reality and characters move from digital to analogue and back, or where everything is both at the same time.
You’ve managed to get some pretty impressive speakers on board – what is your selection process?
Step by step, we build up the line up. Research, chance, recommendations, even artists contacting us – this all leads to a growing watch list. In conversation of the two of us, Peter and I agree on the artists. Somehow, the fact that their characters are appealing to us in a very personal, empathic way is a secret rule. But the real love affair starts after we have met the creators and begin to get to know their characters.
“The real love affair starts after we have met the creators and begin to get to know their characters.”
Every year I worry that I won’t be affected in the same way that I have been before, but it always happens, both in terms of the artists as people, and their creations, the characters.
Special thanks to Lars for taking the time to talk to us
Pictoplasma Festival | April 29 – May 3 2015
HAVING A FACE | An interview with Lucas Zanotto
A project so effortlessly simple yet undeniably fun, Lucas uses painted plates and his camera to transform landscapes into playgrounds of friendly monsters, and boy oh boy, do we love it.
Too often are we met with the inevitable question what is art? and with it, a need to categorise and define; the persistent search for an explanation behind every artistic endeavour that ever graced our planet. But was Van Gogh’s subliminal suicide note really at the heart of his turbulent skies and crossing pathways? Admittedly, it’s an exciting prospect, to unpick the secrets hidden beneath the brush strokes of an artist, or the thoughts deposited into a sculpture prior to its grand creation. We have an underlying urge to find meaning in everything and anything, but what if there was no meaning? Picasso called it the disease of our age, an age of a generation that is anything but practical and yet believes to be more practical than any other age.
So let’s, for a minute, imagine there was no meaning behind the painted canvas that hangs before us. That it was painted for its pure aesthetic value, only. Because it looks nice, and it’s fun?
Richard Long didn’t create his line made by walking to over invest in the idea of art as a form of narrative, nor did he want to attain a grand theory of walking or art making, ‘they just seemed like good ideas at the time’ he said. And ideas that indeed show an appreciation for nature and its fine magnitude of landscapes.
An artist certainly not short of this mentality is Italian born, Helsinki-based director/animator and designer Lucas Zanotto, whose works are a cross between analogue and the digital and stand out for their consciously indomitable, childlike playfulness. Among them is his ongoing photographic series HAVING A FACE. A project so effortlessly simple yet undeniably fun, Lucas uses painted plates and his camera to transform landscapes into playgrounds of friendly monsters, and boy oh boy, do we love it.
I had a quick chat with Lucas who recently opened the Berlin based contemporary character and illustration festival, Pictoplasma, to find out more.
You’ve gone from producing commercials, apps and all things digital, to a series of photographic images. What was the inspiration behind ‘Having a Face’?
The Finnish countryside and having time to play around with things
Talk me through the process, did you go out actively looking for suitable landscapes and formations or was it very much a spur of the moment thing?
In general it is happening on walks and hikes spontaneously. If I know I’m going for a little stroll in nice surroundings, I will keep these paper plates with me. If something pops up I put eyes onto it. For the Pictoplasma Opener, I scouted some locations, as it required more planning.
The series has the potential to be turned in to an ongoing project (in another country, for example). Is this something that would appeal to you?
Yes. It is definitely already an ongoing project and has been for about 2 years now. I have been to so many countries to put eyes onto things. It’s nice as I think this is probably something that will continue and stick with me, for a long period. It is so simple and timeless in a way.
The simplicity of the idea makes it very appealing and accessible to everyone. Who is your target audience?
I don’t think there is any specific target audience.
Your projects always invite us to think outside of the box. Is this an important factor for you?
It is. I think that is important in life in general. Looking a bit further, combining things, improvising, changing viewpoints… this aspect helps a lot.
‘Having a Face’ and previous designs such as your app Drawnimal seem to be encouraging us to move away from the digital screen and embrace analog. Would you agree?
Yes, it feels good to leave the eyes to rest away from the screen every once in a while. I like analogue and tactile experiences, as they are, in a way, not as linear, not as perfect. There are always unexpected elements in it.
Life, Love and the Galaxies: Colouring with Natalie Foss
Norwegian illustrator Natalie Foss’ out-of-this- world portraits and pictures are an exploration of the delicate intricacies of life, love and the galaxies in which all of these beautiful things transpire
Perfecting an aesthetic that successfully communicates feeling and expression through coloured pencil on paper, Norwegian illustrator Natalie Foss’ out-of-this- world portraits and pictures are an exploration of the delicate intricacies of life, love, and the galaxies in which all of these beautiful things transpire.
Frequently juxtaposing bright, contrasting colours with brooding and turbulent subtexts in her work, Foss skilfully creates images that linger long after they have been viewed. From an exploration of the life of an animal outsider in The Urban Shadow to Addiction, an allegorical work depicting the similarities between love and drug addiction, Natalie’s work exhibits an urban edge and youthful cool, no doubt attributable to the various subcultures from which she derives inspiration.
After completing two years of study at Norway’s Strykejernet School of Art, Natalie went on to achieve a BA in Illustration at London’s Kingston University. Although currently based in her hometown of Oslo, prints of Natalie’s work are available for sale on her website; she is also an artist featured on Print All Over Me, an independent website dedicated to the production of original clothing items that ships all over the world.
Working on commission, one of Natalie’s recent projects includes a poster and t-shirt design for New York five-piece pop band Lucius, an undertaking which exemplifies the illustrator’s ability to seamlessly lend her style to a wide variety of subject matter.
Natalie Foss’ name can proudly be included alongside the likes of Hattie Stewart and Lizzie Stewart (no relation!) on the growing list of outstanding talent in the contemporary global art and illustration scene.