artspace Bremerhaven

———— Filed under: Allgemein

Author:
Publ. 10.11.2021

On September 11 & 12, 2021, artspace Bremerhaven took place for the 4th time,  opening its doors for artists of all disciplines. The art festival has turned streets, workshops, galleries, hallways, ateliers, apartments, commercial spaces and vacancies into stages, canvases, and spaces for artistic resonations. 

Artspace Bremerhaven identifies itself as a voyage of discovery for the visitors through interdisciplinary moments of art and a kaleidoscope of border crossings, conventional disruptions and new born ideas.

Kateryna Bortsova, one of the artists of YOUR ART BEAT, showed her project WAY TO MY HEART. The concept of her project relates directly to travel and self-actualization in a globalized world. Kateryna Bortsova referred to the problems arising in connection with the closure of the borders due to the pandemic; how people seek their place in the global world when life suddenly narrows to the same country or even region. She wants to draw the viewer’s attention to a paradox: offline the world is closed and limited – online unlimited openness of content and links that are clearly manifested during a pandemic. In addition to the pandemic, there is the unsolved problem of migration, which has worsened worldwide.

Technically, the work is done with different colors, ink on used maps.

OPEN CALL FOR ARTISTS AND DESIGNERS

———— Filed under: Allgemein ⁄⁄ Art ⁄⁄ Market
Tagged with: // // // // //
Author:
Publ. 06.1.2021

OPEN CALL FOR ARTISTS AND DESIGNERS

YOUR ART BEAT
is a creative network that celebrates the diversity of arts and creative expressions. The digital art project is caharcterized by the desire to convey art realistically, appealing to several senses leading to a comprehensive experience.
Part of this project is the Your Art Beat Market. Here we are experimenting with the boarders and intersections of the Digital and the Analogue.

YOUR CHANCE
This year ten artists art invited to exhibit and sell their artworks at Your Art Beat’s digital market place that is exclusively dedicated to art trade, interactions and transactions between purchasers and vendors.
One of the main focuses is set in digital and media arts – coded or generative, 360° or VR but in general, we are open to classical works, as well as experimental works – as long as they have that certain something that impress and convince us.

YOUR APPLICATION
We are looking forward to receiving applications from artists of all disciplines. Just send an email with your portfolio or web links and tell us briefly why you should be one of the next Your Art Beat Artists.

Applications to: johanna@yourartbeat.de
Deadline: 22.06.2021

Download as pdf:
opencall2021

You can find the Open Call also here:
Artconnet – Open Call Your Art Beat

Check out the Your Art Beath Virtual Booth
Your Art Beat Virtual Booth

Check out the Your Art Beat Market
Your Art Beat Market

Follow us on Instagram: @yourartbeat

The 3D Virtual Booth is live

———— Filed under: Art ⁄⁄ Augmented Reality ⁄⁄ Digital ⁄⁄ Market

Author:
Publ. 05.19.2021

Welcome to the YOUR ART BEAT Virtual Booth. Here you can find our artists, projects and everything about our association with the experience of a virtual room.
The 3D VR Booth is designed by Strollology for Art Karlsruhe with Your Art Beat e.V.

YourArtBeat Virtual Booth

Project management: Teferie Amenu Tafesse with students of the School of Popular Arts Berlin
Design: Anna Roth, Strollology
Coding: Gabor Kovacs, Berlin School of Design and Communication
Supervision: Matthias Welker, YOUR ART BEAT e.V.

Visit our shop and blog, donate and become a member! Enjoy!

Learn more about SABAA.education – An interview with Ulrich Wünsch

———— Filed under: Allgemein

Author:
Publ. 04.26.2021

First of all – why?

Well, I think that WE, MANKIND, at the very moment are taking a further big and decisive step into an unknown and different terrain. This new world we are already in, is signified by a process of acceleration, WE have not experienced before. Digitization, Globalization as well as Climate Change are metaphors to describe that huge transformation taking place right now. The Covid-19-Pandemic, that now hits, frightens, and moves all of us on this planet, forces the society and each and every one of us into new operational modes. And WE need to manage that somehow. I think that we are obliged to look for good tools and results – so that all members of MANKIND have a fair chance to reach a good life here on this only planet we have.

And Education?

Education is a very valid and resourceful path, a powerful tool, a good means to that end. Yet it has to be education for the 21t Century. Education has to leave at least some of its traditional ways and structures behind. The roads to education will and have to be manifold. Informal learning and knowledge and skills gathering will be more important – many of us do have knowledge beyond the statement of whatever kind of standardized and regulated proof. Here, a great potential is hidden to react in a flexible way, to open up chances and act less bureaucratic, to mainly foster self efficacy and self-responsibility.

Really? Why?

Because the challenges ahead are different from yesterday’s. All involved – instructors, industry, governments, students, parents, … – need to think, to cooperate and give each other feedback on what is really needed and helpful. The old structures (seen form a German perspective) of primary, secondary and tertiary levels of education are worn out. Lifelong learning, blending online and offline learning as Blended Learning, looking for skills rather than solely theoretical knowledge, and lots of other issues are changing education along with the needs and wants of all its diverse stakeholders. Plus, there are the chances, digitization offers, applying it to education – and the shortcomings of it. This means Education for the 21st Century: a profound response to the changes and challenges ahead. Communication, Creativity, Collaboration, Cultural Awareness (or the local and trans-cultural), and Critical Thinking plus Acting accordingly (thus turning knowledge into a competency or skill) are key factors in this approach.

And SABAA?

Well. SABAA, I hope, can play a role as a provider of ideas, concepts, and solutions or products on the forefront of education; especially in close contact with the creative industries It can act as a moderator and an applicant bringing together money and ideas and people. It can produce and challenge.

So, why Sub-Saharan Africa?

Well. Because relevant education is needed very direly in Sub-Saharan Africa. Because good education can change a lot. Because the intelligent and hardworking people deserve a fair chance. Because reciprocity means a balance of give and take. So Germany, Europe, in return will gain; MANKIND can gain.

Is that all?

No – Sub-Saharan Africa is a fascinating place to me and it seems to be a terroir of the future. It sometimes feels, that Europe is a terrain of a certain past. And all the people living in Sub-Sahara Africa – with all those diverse and different cultures existing on this magnificent continent – are to be reckoned with. „Africa“ is one of the spots where the future is happening. As the cradle of MANKIND, it stands for the start-up of human culture and I am looking forward to its further contributions, big and small.

No personal connection?

Oh yes – when I was an exchange student, 21 years old, at a university in Illinois, USA, I lived in International House. There you shared a room with two other males, and these were a small chap from Ghana and a big guy from Nigeria. We had a good time for one year and I learned a lot about these countries, Africa, and intercultural issues. Another good friend of mine at theatre and later was South-African, and again I learned a lot from this kind man. So my interest was kept alive by encounters with fine people. And the music. I encountered some African music when I was 16 years, and from that time on I loved it. The sounds, the rhythms, the polyphonic voices. From Nigerian High-Life music to Sudanese wedding music to the Super Rail Band of the Buffet Hotel del la Gare de Bamako, Mali, to Hugh Masekela or Dollar Brand, to Le Zagazougou or Baaba Maal and electronic dance music from Africa: I love it.

I understand that SABAA is not about donations?

Yes and no. SABAA, being a non-profit organization, will take donations .And no: donations with out strategy, plan, and working at eye-level plus reciprocity don´t solve anything. Sustainability (meaning durability, efficiency, and watching out for circular economy solution and zero-waste to me) is an important factor. Too many non-sustainable projects just end when the easy flow and intake of money dries up. SABAA is a non-profit company, acquiring and making money to then distribute these means to relevant causes. Pure donations I believe, only lead to shame and dependance. For both involved: the taker and the giver. Social Business solutions are on SABAA´s mind, they are a better way to solve problems. Those who profit from SABAA`s offers should – right sway, or in their time when they profit – give back. That´s the deal and contract. I see it like an inter-generational and inter-continental contract: if you profit, give back. That applies to both sides.

Ai Sato

———— Filed under: Artist ⁄⁄ Artwork

Author:
Publ. 10.18.2020

In this post, Ai Sato talks about the creation of her works.

In order to create my art:digital drawing, finding the objects that have the potential to be a subject of interest is an essential factor for me, so I have been archiving the photographs of everyday life here in Mexico. Most of the findings are very different, and often are rather unexpected from my point of view: the nature, color, landscape, and architecture. These scenery became one of the important factors to my works as the impression of these subjects are quite strong, and have a strong visual presence.

I took the screenshot of a couple of digital drawings that I am currently working on in order to explain one of the processes of how I create the digital drawing: First, I start off by adjusting the snap-shot photograph (*on the left bottom) from the screenshot image, rather spontaneously. Expanding the possibilities of the colors, tweaking the shapes and changing the composition in order to experiment the possibility from these mere ordinal photography. Gradually transforming the image to the one above it at some point.

For this particular work, I started to become interested in creating “spheres”, which soon after I got the idea to “transfer” to the new “canvas”, because I found that there could be more possibilities in these objects to be a part of another drawing. To me, it is not so different to work with digital images with photoshop vs work physically with paint and canvas: “Randomness” is actually an important part of how I process making my art. Therefore, handling the colors on canvas, and handling the colors digitally work pretty fairly to me in order to achieve the visuals that I want to express.

I am also interested in creating moving images and video works with the same manner mentioned above. I am sharing one of the short video works I have recently created and experimented. One of my interests on this project is to expand the visual experiment, and playing with the possibilities beyond static images.

(*The photo in the screenshot was taken at the side street of central market, in San Cristobal de las Casas, Mexico, where I am currently residing. The short video footage was taken at Puerto Arista, on the north coast of Chiapas, Mexico in the municipality of Tonalá, combining with the other footage taken at home and garden.)

(*One of my recent digital drawing work, “Untitled”, was shown at Digital Arts Festival (ADAF), 16th international festival for digital arts, Athens, Greece, July-September 2020)

Exit Athena

———— Filed under: Art ⁄⁄ Artist ⁄⁄ Exhibition

Author:
Publ. 10.11.2020

From November 19, 2020 Selma’s solo exhibition Exit Athena can be seen at the Museum Folkwang in Essen. With her surreal-looking multimedia installations, Selma Köran questions traditional power structures and gender relations. For her first institutional exhibition, Exit Athena. the young artist has taken a canonical text of European culture and transformed it into an exuberant cinematic spectacle: Hesiod’s Theogony tells the story of the Greek deities. The artist adds a fictional final chapter to this text, in which she turns the hierarchy of the world of gods upside down. The heroine in Köran’s feminist new version is the wise and rebellious Athena, who competes against her own father Zeus. Selma Köran creates her alternative mythology in a visual language of exaggeration. She brings out the sensuality and aggressiveness in Hesiod’s cosmos and stages it in a colorful and anarchic way. The linear narrative structure of the text gives way to a fragmentary juxtaposition of grotesque film scenes and animated sequences with clay figures.

Selma has been part of the Your Art Beat network from the very beginning and took part in the accompanying program of events at the 2019 group exhibition in Berlin Kreuzberg as part of an “audiovisual dialogue”. She holds a Master’s degree of fine arts and design from the Dirty Art Department, Sandberg Institute Amsterdam.

The I Ballet

———— Filed under: Artist ⁄⁄ Artwork

Author:
Publ. 06.3.2020

“The I Ballet” by Martin Henkel
Description of the installation:
The entire installation was first visualized in a 3-D program to get an exact idea of the character of the installation. The procedure for designing in a 3-D program is based on vectors and surfaces and in this case on animation. The same procedure was used in reality and in material. That means, first a wireframe model was created in original size, then the whole thing was covered with clay and modeled. The resulting figure was then cast in plaster and taken taken out of the mould, animated or changed in shape, cast again and so on. From these negative moulds, reproductions made of paper were created and copied. Thus, a dance formation was created, called “The I Ballet”, since they all descended from one figure.
The figures themselves consist of an arm, an implied body and a head.

Meaning of the installation:
The implied body has something floating and flowing, in contrast to the arm, which symbolizes power and strength. In a figurative sense this means that processes and goals are not necessarily realizable despite one’s own will.
The small head stands for limited and – on itself – limited thinking.
The figures are captured moments of movement, such as frozen stages of a person’s life or efforts of self-fulfillment.
Placed on poles, with a thin cross-section, the figure has a flexible floor connection, but unstable grounding.
The movement efforts of this one multiple figure create an I ballet, a beautiful, active, but also absurd life form.

Exhibition Introspective in Perspective

———— Filed under: Art ⁄⁄ Artist ⁄⁄ Artwork ⁄⁄ Exhibition

Author:
Publ. 05.10.2019

Lita Poliakova
Introspective in Perspective
WerkStadt Kulturverein Berlin e.V.
May 5 through June 9, 2019

Lita Poliakova’s portraits exceed all expectations regarding the genre. Each single work turns both inwards and outwards. We are able to recognize the sketch of a face looking at us like an expressive character in a science-fiction comic. At the same time it seems to turn its interior soul toward the outside at each point of its shaping and color rendering: Like some kind of psychogram which merges associations of different moods and expressions.

On another level, the exhibition is constantly blending humans and nature like some sort of hologram. It is an astonishing and fundamental common ground that comes into view: the elements that all organisms are composed of and dissolve into. These elements are the same in humans and plants. The artist makes use of these micro-components in her splendid organic recycling: She extracts color pigments from organic materials, such as left-over fruits, and applies them to her paintings. There might be unpredictable further variations of these organic colors. Finally, it is the solid, yet expanding crystal structure that could be understood as an anorganic and dynamic complement of the paintings.
Thus, between screen and crystal, the colors continue the play of depiction on a material level.

Is this a human face, whose sense of self, affections, facets and transformations shows up in the emergence of colors? Or is it a landscape or even a singular plant that can be depicted as a human with the help of our gaze? Do we identify the ongoing metamorphosis of a single individual or rather a huge family album or chemistry of humans, flora, and fauna?

Jule Böttner
WerkStadt Kulturverein Berlin e.V.