Ukraine -> Україна

———— Filed under: Allgemein

Publ. 03.7.2022

YOURARTBEAT cannot be silent about the war in Ukraine.

Some of our artists are from Poland, Ukraine, and Russia. People and their art we have grown fond of. We would never exclude artists from Russia. We also do not ban Russian literature and music from our shelves, nor from our brains.
Violence threatens the lives of millions of people related to us.
And also specifically, we are without message by Kate Bortsova from Kharkiv.

The negative target point is clear, Putin pronounced in French is Putain.

My brain thinks of a play by Heiner Müller (text Maguerite Duras) and I have the words in my ear:
“La mort d’une putain. A présent nous sommes seuls cancer mon amour.”

The French are polite people, they write Poutine, which leads us to a Canadian national dish.

But when I think of Putin, I also think of Wagner, and Alberich, the dwarf from our sagas: „Gewänn ich nicht Liebe – doch listig erzwäng’ ich mir Lust!“

But what can be done instead of being silent or marginalizing?

We will start sequences in our podcast on the topic of “Heimaten” (homelands).
Homeland is neither a nation nor a common language. Why else should Russians shoot at Russians?
Homeland is a feeling of security within the family, with friends, also the fellowship in peer groups and a joint struggle for the future.
Also in the case of flight and migration and a hopefully temporary homelessness.

This is our topic, and we will present it not only in the Internet but also in exhibitions.

Carla Marini

———— Filed under: Allgemein ⁄⁄ Art ⁄⁄ Artist ⁄⁄ Artwork ⁄⁄ Market
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Publ. 02.1.2022

“What is not critical thinking art, I call decoration” – Alfredo Jaar.

Every year Your Art Beat is looking for new artists to exhibit and sell their artworks at the YOUR ART BEAT Market. Today, we would like to introduce the new artists. The first artist will be Carla Marini, who applied and was selected for the Your Art Beat Market with her project “Ephemeral women”. Carla Marini was born in the Chilean desert. She became interested in creative work from a young age, attending workshops and everything that was related to this somehow. She moved to Barcelona in 2016 for her master’s degree in illustration. In the interview, she talks about her career as a professional artist and introduces us to her project “Ephermal women” more in detail. Carla Marini describes her own art as: feminist, expressive and colorful. With her art she wants to represent women, put them in the center of attention and thus give them more visibility, “on their full complexity, focusing on the oppression of woman in patriarchy”, Carla writes. Furthermore, her work deals with sexism and the feminicide. Important and exciting topics that her art is intended to raise attention to. Art is for Carla “[…] two main things. It’s version B of the history – the most critical, sensitive and honest narrative of it. On the other hand, for me, it’s a fight. I really believe in the political sense of art.” Nor is she critical of digital art. In her opinion, digital art can be used to create something truly new and unseen. Carla defines culture “[…] as a bunch of human expressions. It can be folklore, crafts, even street food. It’s everything happening in a specific place and time so it’s kind of a collective soul of a region. I come from a very particular region of Chile, where there is a very unique Carnival full of color, dance, and music that is really felt in society and is a sign of resistance to colonialism. I have something of it inside of me and all of this gets expressed in my art as part of my cultural identity.” So, please welcome Carla Marini to the Your Art Beat Blog! Check out the whole interview right now. Enjoy.

1. Introduce yourself and also the project, with which you had applied to YourArtBeat: “Ephemeral women”

I was born in the Chilean desert, and I inherit the love for the carnival of the North. My art comes from this imaginary, from the colors, to my interest in multiculturalism and feminism.

Since I was little, I have been attracted to art, and I was always in a constant back and forth between the visual and performing arts, so I was always taking in workshops on everything related to that…it was obvious that I would finally study art at university. I studied performing arts, after a while, I started worked on visual poetry and performance… In 2016 I moved to Barcelona -the city where I am currently based- to study a Masters’s degree in Illustration…

Conceptually my research has always been around identity, thinking in the concept of otherness, in many ways, because I want to bring forward elements of it that historically have not been appreciated.

My work lately has been a journey between abstract and figurative portraits of women, it is a kind of metaphor for the disappearance of women in the patriarchy…in every possible way. From the symbolic to the literal, the extreme expression of sexism…the feminicide.
Also it is a personal reflection of my knowledge of feminism regarding the deconstructions you must make in order to be coherent.

2. Where do your ideas come from?

The core idea comes from social injustice, political issues, and whatever happens around that triggers something uncomfortable inside me.
Besides, living in Barcelona is a deep dive into different cultural expressions…It could be a photography exhibition, a lights festival or a concert…anything that nourishes your brain. Definitely being in a place full not only of art, but also full of cultural diversity and life is a shot of bubbling energy.

3. What inspired you especially for the project “Ephemeral women”?

Initially, the project was something related to the concept of ephemeral forms that disappear and get visually destroyed. It started as an investigation of what deconstructions of the portrait of a woman means and it was very visceral.
Working on that I realised that I was speaking about the literal disappearance of women due to feminicide.

In the process of developing the series I have been doing a thorough research about other topics regarding feminism, such as the beauty myth, gender roles, sexual violence,etc.
One of the main focuses of the series has been the double oppression of racialized women in society, which was inspired by a reading “Women, race and class” by Angela Davis.

4. How do you work on your creative (creation) processes?

I usually start with a very precise idea in my mind, a clear defined image and then I start exploring the technique. Only a few times I prepare a sketch because the process for me is getting the image as tangible and accurate as possible.

I also like to surprise myself during the process and let the mistakes take place as mistakes are really where you learn from the most.

I’m really obsessed with the initial image and in the last project, for example, I wanted to mix abstract and realism, using collage technique and acrylic. Therefore, this serie immediately developed in a very natural and organic way.

5. What advantages do you personally see in digital art?

Digital art allows us to create something really new and unseen nowadays as many expressions of arts have been explored already. Therefore, as technology advances, the more digital artists can embrace them and get new possibilities out of them. I can say -thinking is everything done- the digital artist has a potential in her hands that analogic artists usually don`t have.

6. What do you want to express with your art, or does it change with each project? Or, for example, is there always a consistent main element/theme?

I’ve always represented mostly women in my artworks. At the beginning of my career, I started drawing portraits and then I touched topics around racial hierarchy and migration, ending up with the representation of women only. As much as I got deeper in women issues and the power of patriarchy I started focusing on women’s portraits as this moves me. In any case it has always been about identity and the concept of “otherness”. I finally committed myself to feminine portraits and feminism and I decided to portrait only women as historically, they have been represented as muses and beauty objects. I want to put them in the centre, giving them visibility on their full complexity, focusing on the oppression of women in patriarchy.

7. What does “art” in general mean to you?

Art for me is two main things. It’s version B of the history – the most critical, sensitive and honest narrative of it. On the other hand, for me, it’s a fight. I really believe in the political sense of art. Call me naíf or call me pretentious, but I really believe if I can touch and “crack” someone in any way I’m on the right path. It is a giant dichotomy and that on the one hand I believe that there is nothing to do and nothing will chancge, and on the other hand I hace the impertinent need to try again and again to change something, no matter how small, that generates a minimun movement in some place… Like Gramsci said: “Pessimism of Intelligence, optimism of will”.

8. What does “culture” mean to you?

Culture is a bunch of human expressions. It can be folklore, crafts, even street food. It’s everything happening in a specific place and time so it’s kind of a collective soul of a region. I come from a very particular region of Chile, where there is a very unique Carnival full of colour, dance and music that is really felt in society and is a sign of resistance to colonialism. I have something of it inside of me and all this gets expressed in my art as part of my cultural identity.

Not sure what Your Art Beat Market is exactly? YOURARTBEAT Market is a digital marketplace dedicated exclusively to art trading, interactions and transactions between buyers and sellers. YOURARTBEAT intentionally opens the market to newer and unconventional visuals and digital art.

Kate Bortsova

———— Filed under: Allgemein

Publ. 02.1.2022

Today, we would like to introduce another new artist whose artwork is exhibited and for sale at the YOURARTBEAT Market. For us it is important that you also get to know the person behind the artworks. Let’s welcome Kate Bortsova today! First of all, Kate shares with us that she is very impressed “by the statement of Fyodor Dostoevsky: Beauty will save the World.” This is because in her art she always tries to follow, implement and realize this statement. Furthermore, Kate’s art is also often described by viewers as very emotional. “I think that this adjective is the most accurate description of my work,” says Kate. But all this would not work without energy – for her the main drive for creative work. Moreover, she wants to show with her art “what it means to me, how I see reality”. How does she see reality? “One of the main thesis of my projects is that in the modern world not everything is actually what we think, many things have different meanings; and sometimes it’s difficult to understand the true essence of things now”, Kate Bortsova explains. For her, art means, among other things, the confrontation between life and aesthetics. She describes culture as “all types and genres of art”, because they all have “their influence on the disclosure of painful topics for society.” But art and culture mean much more to her. If you want to find out even more about it, read the full interview. Here she talks about her career and how she handles her creative process. She also talks about what inspires her and how digital art affects her. Welcome Kate Bortsova on the YOURARTBEAT blog. Have fun reading!

1. Introduce yourself and also the project, with which you had applied to YOURARTBEAT.
I as an artist believe that keeping up with ephemera fashion shall not serve as a factor of art work modernity. Let me remind you that the way of human civilization development has a form of curl. Everything new is a well-forgotten old one but at the new curve of civilization.
In the modern multipolar and multinational world, art and art objects got dissolved in the routine of human life. After Marcel Duchamp created a ‘readymade’ art in the 1940’s we may be sure to find art objects around us without any force. But in order to make an art object of a simple spoon or staple there shall be need of a creator – a man with endless fantasy, who sees not a dirt but a star in a pool, as Immanuel Kant said. Any person may get technical skills and practice of creating a picture by means of hard work. But not everyone may fill their work with philosophic sense, with such images which would enchant audience for ages. Now the only factor of art modernity is that it is present in art galleries and in the Internet.

2. Since when are you artistically (professionally) active?
I often call myself “a student forever” pour rire, because I started to study professionally with entering Kharkov State Art School. After Kharkov State Art School I studied at Kharkov State Art College, where was my first personal exhibition. A statement that human shall study and develop herself for a whole life impresses me very much. I consider that a talented person is obliged to find out something new throughout her life, to reach more new tops. If she ceases to develop herself, she will have nothing more to say to the audience by means of her works. At the present moment, I am expanding my conception of the theoretical aspect of art and therefore I harmonize all the aspects of the talented person of mine. Another aspect of this issue is a conception and understanding of academic education, a need therein. I have already stated that anyone may learn some technical skills. But you should understand the way of application thereof. All the great artists got academic education. Any Avant-garde, non-figurative work of art is based on academic practice, for example, Pablo Picasso’s works.
Of course in the process of my education both at Kharkov State Art College and at Kharkov State Academy of Design and Fine Arts, I often faced the pressure of teachers who often tried to impose their own vision and their own point of view. Certainly, the personality of teachers play a large role in creating a young talent. A teacher may either support and give a push start, or prevent any desire to create masterpieces, depending on circumstances. I have the nature of a struggler, so even the most negative comments on my works could not lead me astray from the way I chose. Despite the negative aspects which are typical of academic education, I still believe that it is necessary for each artist. But an artist shall not think that at the academy she would learn how to create real masterpieces. Throughout the whole life, a talented person shall pass a difficult and even a suffering way which may be related either to external events or to comprehension of the individual self. An artist creates his own image of the world and therefore it correlates his imaginations with the common laws of universe. We know that each way shall lead to the temple but the temple may be erected inside the human’s soul.

3. Where do your ideas come from or what inspires you?
My creative process has not so many stages and technical peculiarities. Creation of a picture shall start, of course, from the image of potential work set inside my brain. Images occur in my imagination very often. It can be either imposed by impressions from a movie, a theater play I saw or by simple communication with another person. Therefore, I often face an opinion that my works are often based on any work of literature, but it is not right.
The image of a potential picture will not leave my imagination until it is depicted on canvas or paper. Sometimes, I have no time for creative works due to my large involvement in other industries. But the idea of a new picture does not leave me and I am eager to set aside some time for implementation thereof in real life.
No doubt, works of any artists are totally autobiographic. It is felt in perception of life too, either in inspiration by certain landscapes, impression from journeys or inimitable memories. Often people depicted in paintings have features similar to their author, so in my case, too. Among my works there are many self-portraits and sometimes characters of my portraits acquire my features. It often occurs at the subconscious level. But I do not feel it. Only third persons can see it.

4. How do you work on your creation processes?
After the general idea of a new picture appears in my mind I develop all the details thereof inwardly. I make a decision regarding the technique and style of my further work, regarding the best compositional conception. Sometimes after thorough it thinking over I start to make a small sketch, but I do not do it always. My experience showed that the more detailed image of a picture is developed in my mind, the less time and efforts I need for implementation thereof. Now, I have even spontaneous works. In such cases, I take a canvas immediately and start to paint without thinking of the result. When I studied at Kharkov State Art College, I made even a monumental painting (4 m x 2.5 m) devoted to the musician Frank Zappa without any sketches or concepts of the final result.
But I also dislike to create one work for a long time. In cases when the work has not the same image as it intended to have initially, you should not stop doing it, but only complete it and put it aside. Maybe in a few months or even years it would have another vision. But anyway you should not remake it again and again with wasting a lot of time and force.

5. What advantages do you personally see in digital art?
Now, we cannot deny that digital technologies were implemented in our life and, of course, in art. I think that now there are no more artists who do not use new technologies in their works by any means. I have already said I am a graphic-artist by vocation. No modern graphic-artist can cope without computer technologies, either in book or poster design.
One of my scopes of work is poster graphics. Therefore, I often use computer techniques. Moreover, I often make sketches to my paintings and graphics by means of computer.
At the beginning of our conversation I have already said that at the modern stage of art development everything may be an art object. So we cannot split art and technology because nowadays artists use more and more new technological methods. I think that neither art absorbed science, nor vice versa, it is only interpenetration. As the result we got new trends both in art and in science. The fact is that civilization always goes forward, it must develop itself. Therefore, art must develop itself, too. And it is impossible to develop art without the newest technologies.

6. What do you want to express with your art, or does it change with each project? Or, for example, is there always a consistent main element/theme?
When I work I do not think whether someone will like my work and will buy it. I get delighted by the process itself, by the stages of creating a picture, by the way of implementation of my virtual idea. I cannot detach any certain image of the admirer of my works. I think everyone may find something close thereto among my works. With the help of my works I want to formulate what it means to me, how I see reality. One of the main thesis of my projects is that in the modern world not everything is actually what we think, many things have different meanings; and sometimes it is difficult to understand the true essence of things now. I consider that a talented person is obliged to find out something new throughout her life, to reach more new tops. If she ceases to develop herself she will have nothing more to say to the audience by means of her works.

7. What does “art” in general mean to you?
I think that art means confrontation between life and aesthetics. It is a hard struggle for both of them. And the understanding of art is one of the main artist’s working specialties. Regarding definition of art modernity I do not divide art works into mainstream, underground, and classics. It is important for me that art masterpieces should have a response in the audience’s soul. Pictures with such quality will be always up-to-date. Maybe my point of view was influenced by mental peculiarities of culture which brought me up, as well as the fact that in Ukraine art culture faced the newest trends only a few dozen years ago and now is trying to catch up with trends of the Western European art market. Therefore, in our country art has been developing in another way than in Western countries.

8. What does “culture” mean to you?
All types and genres of art have their influence on the disclosure of painful topics for society. However, at each stage of the development of civilization, each of the art forms had a greater or lesser power of influence. So in the 20th century, especially in the middle of it, music became the voice of protest and freedom, however, the visual arts did not lag behind. Now with the development of the Internet and social networks, where the “picture” plays an important role, visual art has received a great opportunity to express and denounce the vices of everyday life.

Not sure what Your Art Beat Market is exactly? YOURARTBEAT Market is a digital marketplace dedicated exclusively to art trading, interactions and transactions between buyers and sellers. YOURARTBEAT intentionally opens the market to newer and unconventional visuals and digital art.

DOGMA 2021 – KI und Technik: Segen oder Fluch?

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Publ. 01.19.2022

Your Art Beat e.V. und Strollology präsentieren die Folge 0 des Podcasts “DOGMA 2021”, der ab März 2022 weitergeführt wird.

In Folge 0 geht es um die Idee “DOGMA 2021”, also wie sie zustande kam und was Matthias Welker (YAB) und Lars Roth (Strollology) überhaupt unter DOGMA 2021 verstehen und für was DOGMA 2021 generell stehen kann. Es geht um technologischen Fortschritt und wie wir als Gesellschaft damit umgehen. Wer bestimmt wen? Ist KI und Technik ein Segen oder Fluch? Was sind die Vor- und Nachteile? Ein Gespräch und eine Diskussion.

artspace Bremerhaven

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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.


———— Filed under: Allgemein ⁄⁄ Art ⁄⁄ Market
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Publ. 06.1.2021


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.

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.

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:
Deadline: 22.06.2021

Download as pdf:

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

Learn more about – An interview with Ulrich Wünsch

———— Filed under: Allgemein

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.


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.

Behind Your Art Beat – An Interview with Johanna Griebert

———— Filed under: Allgemein ⁄⁄ Art ⁄⁄ Artist ⁄⁄ Digital ⁄⁄ Market ⁄⁄ Processing

Publ. 03.2.2021

Maybe you can think of [Your Art Beat] as a kind of virtual museum

It is the year 2016. In the beginning it is just an idea, but soon Your Art Beat e. V. grew out of it. Johanna Griebert has been involved from the beginning, and today we will introduce her. Johanna is the chairperson of the board of Your Art Beat, along with Matthias Welker. In the interview, we talk about the history of the association and what Your Art Beat stands for. The aim of the association is “to take a holistic view on the art, culture and creative scene and [to] dedicate itself to the protection, preservation, wide-ranging and multimedia presentation of the most diverse arts”, as Johanna says. The mission: cultural education. The main motif here is the combination of modern media technologies and interfaces of the analogue and digital world. ” Maybe you can think of [Your Art Beat] as a kind of virtual museum,” she pursues. Artists who are selected through open calls are exhibited. Their works can be bought on the Your Art Beat Market. What exactly the YAB Market is all about? What the future of YAB will look like? You can find out in the following interview. Johanna also explains why experimenting with digital media in particular is so exciting and which features should not be missing from a good exhibition.

How did the association Your Art Beat start and what are your tasks there?

I have been involved in Your Art Beat from the very beginning. In 2016, after the presentation of my final project, back then my professor, now good friend and colleague Matthias Welker approached me and described his initial ideas for a project. From the first moment, I was enthusiastic and quickly convinced that I wanted to get involved in the project. That was practically the birth of a project that later developed into Your Art Beat. My tasks were of a conceptual, curatorial, editorial and organisational nature. At the end of 2016, the project was online and half a year later, in the summer of 2017, we founded the YAB association, which I run together with Matthias as chairperson of the board.

How would you describe the association in a few sentences?

Your Art Beat e.V. is a non-profit association that takes a holistic view on the artistic, cultural and creative scene and is dedicated to the protection, preservation and wide-ranging, multimedia presentation of a wide variety of arts. We see our mission in cultural education and in this respect call for participatory events and “creative activism”. We want to conduct discourses at eye level and dissolve static role assignments of knowledge instructor, recipient and producer. “Isn’t everybody a creator and curator?” Furthermore, Your Art Beat explores the potentials of modern media technologies and the intersections of the analogue and the digital. This is a motif that can be found in various facets of Your Art Beat.

What goals have you set yourselves as an association? What does Your Art Beat stand for?

We see our function primarily in promoting artists and supporting them in their activities. To this end, we offer various services, which we put together according to orientation and objectives, in order to be able to respond to individual circumstances and requirements.
Our goal or vision is to develop a new tool (Your Art Beat Gallery), which is to be understood as a kind of immersive and multimedia knowledge repository, in which collectively generated knowledge, artistic experiences or creative processes are saved and designed as multimedia contributions. Perhaps one can imagine it as a kind of virtual museum, composed of content from society and intended to offer participation, information and pleasure at the same time. Like a museum, this collective art and creative memory should be accessible to the public.

What exactly is the Your Art Beat Market?

The YAB Market is a digital trading place dedicated exclusively to the buying and selling of artworks, with a focus on digital and media art. Here we also find “the typical YAB motif” that I spoke of earlier: The intersection of the analogue and the digital.
So the question is: how can you produce a digital work haptically or transfer it into a physical medium?
This primarily goes hand in hand with the challenge that for each work a suitable physical medium has to be found that reflects both the visual dimensional depth and the content component (“the soul” of the work). To this end, we have experimented with different materials, such as mirror glass, (normal) glass and aluminium. This allows us to offer individual products in different design and price variants.
Furthermore, we offer additional services that can be used individually. We offer clients our knowledge and professional background, roughly speaking: content-related, legal, financial, as well as logistical matters concerning private art objects.

How do you select the artists?

Every year we launch an open call in which we look for new and special talents. The 5-10 artists who convinced us the most will be presented at the YAB Market. In addition, a selection of their works is offered for sale. Within 3-4 weeks, artists and creative professionals from all over the world have the opportunity to apply with their portfolio. At the last Open Calls we got great feedback from different countries. The decisions are usually very difficult but the result is always a very meticulous and fine selection of new talents’ works. As I said before, there is a focus on media and digital art. However, in recent years, we have also been able to convince artists from more “classical” disciplines, which means that the Market can offer a refreshing diversity for sale.

Digital media – are they more a part of the independent cultural scene or have they already entered the realm of state institutions?

Digital media have also arrived in institutional exhibition venues, but in practice they are not as mature as one would expect, or wish. Nevertheless, it’s nice to see that the use of digital media is also becoming established in “traditional” or “conservative” institutions. – Of course, it always depends on how the respective exhibition house is set up and oriented. For many exhibitions, media stations etc. are not even necessary, e.g. pure art exhibitions. Either way, anyone who wants to use media in exhibitions should choose them sensibly, plan them carefully and implement them in an overall functional way.
A big challenge that I personally perceive in my job at the moment is the topic of accessibility. Especially when it comes to electronic media, there are a lot of things to consider when implementing digital applications – be it of a design, content or physical nature. It is not easy to reconcile all of these and achieve a beautiful, functional end product. I am very pleased that more attention is being paid to the topic of accessibility in the exhibition context and that it is establishing itself as an elementary component in the exhibition business – yet there is still a lot to learn on all sides.

What makes it so exciting to experiment with digital media?

What is exciting about digital media is that digital formats give us the possibilities to present and convey content in the most diverse ways. In other words, for every content you want to convey, there are different ways of preparing and presenting it. Digital media expand this spectrum and offer us further options for presenting and ultimately conveying content in its own individual and ideal way.

What is planned for Art Karlsruhe, how will YourArtBeat present itself?

We are very pleased that Your Art Beat will be present at Art Karlsruhe this year, one of the largest art fairs in Germany, and that we will be able to showcase all its facets there. On this occasion, we have also come up with something special. In addition to the booth on the Museumsmeile in Karlsruhe, there will also be a -virtual- booth online. At the moment, Your Art Beat is still working on the development of a first prototype – so I don’t want to anticipate anything at this point.

What does the future of YourArtBeat look like? – What can we expect?

The next big Your Art Beat event will be, as already mentioned, Art Karlsruhe (21 – 24 May 2021) and in parallel – as a “digital event” – the virtual exhibition booth online. This will also be the kick-off for our next Open Call, in which we are looking for the “third generation” of YAB artists whose works we will exhibit and sell at the YAB Market. Another project I am very excited about is “Blickwinkel” by Sophia Vecchini [link from Blickwinkel post]. As part of this social project, Sophia has turned homeless people into artists and let them shoot their own motifs with disposable cameras during the winter. We will soon be exhibiting a selection of these at the YAB Market and will be able to offer them exclusively. The proceeds will go in full to the artists.

What do you think are the characteristics of a good exhibition?

A good exhibition must “seduce” and “incite” me, it must have the potential to carry me away, even if the subject does not interest me at all. A good exhibition teaches me something without the feeling of learning. It shows me new perspectives and perspectives that make me reflect and question my opinion. In the best case, I not only take away factual knowledge from an exhibition, but also become more “emotionally intelligent” and learn something about the society I live in and about myself. Not every type of exhibition or exhibition theme offers the opportunity to fully exploit these possibilities, but it should have this claim. Small things can have a big impact.

The interview was conducted by Carsten Jan Weichelt.


———— Filed under: Allgemein

Publ. 01.26.2021

The term Strollology translates as walking science and stems from the English term “to stroll” = to go for a walk). Together with his wife Anna, Lars Roth founded the design studio Strollology in 2014. In addition to commercial projects, the agency is also focused on artistic projects and theoretical aspects of design. “If you’re working only in the commercial field, you can easily feel like a hamster in a wheel. It’s good for creative work to constantly expand one’s own horizon,” says Lars Roth.
In August 2020, they were part of the Karl-Marx-Allee Artwalk in Berlin together with YOUR ART BEAT. There, they presented their project “KMA Faces”. Anna and Lars photographed residents of Karl-Marx-Allee and morphed their faces with the help of a machine learning model. This was done by a Generative Adversarial Network (an artificial neuronal network) that constantly generated new variants of the KMA residents from the portraits – a work of art that will probably exist only once. “There is actually nothing that doesn’t already exist,” says Lars Roth.
Thanks to artificial intelligence, however, this might change. How? Read the full interview and learn more about Strollology.

Who is behind Strollology?
My wife Anna and I are behind it. We both studied visual communication at Kunsthochschule Kassel. The Swiss sociologist and design theorist Lucius Burckhard, who invented Strollology, taught in Kassel. I’ve always found his work exciting. I’m all into conscious perception. And Burckhardt initiated walks with the aim of sharpening participants’ awareness for their environment and adopting new perspectives. Of course, that has a lot to do with vision. In our walks through Berlin we took up the idea of Burckhardt’s thoughts and carried them on. In our blog we tackled the topic in theory. In addition, we cooperated with various partners, such as Slow Travel Berlin and the B_Tours Festival, who deal with walking as an artistic practice.
Beyond that, Strollology is about conscious perception of the environment – a constant analysis and reflection of what surrounds us. There are two things that have always interested us: people and places. And I believe that places have their own aura, that is, they convey a special feeling. We often walked through Neukölln. Neukölln is an old working-class district that has changed radically several times in the course of the last century. Our intention with these walks and with Strollology in general was to create an awareness of that among the visitors. To make people aware of the things that surround them every day.
Lucius Burckhardt’s design-theoretical reflections, however, go far beyond the actual “walk”; it is much more about constantly questioning one’s own point of view – according to the saying “think outside the box”. This attitude has also increasingly been integrated into our practical work as designers. The combination of applied projects and theoretical analysis, that is what characterises Strollology for us. For example, we are very interested in artificial intelligence. We deal with this in the commercial field on the one hand and in free artistic projects on the other one.

So one could say that you are exploring the business world in order to create something new artistically?
If you look at it philosophically, then I would answer that question with yes. Strollology is first and foremost the philosophy behind our work. We humans are practically filters. We perceive all day long, for example when we walk through the city or move through the net. Our input therefore also influences our output. In our commercial projects, we try to insert our artistic input and our theoretical background. In our everyday life, in the commercial field, a lot of our work is hands on, of course. A large part of our agency’s daily routine is determined by implementing specific projects according to our clients’ wishes. But behind that is always our philosophy – mirroring what we do in the commercial sector, for example, – to rethinking it artistically, and vice versa.

You mentioned that you offered walks at the time in order to consciously perceive the surroundings. How can one imagine that? How did you guide the visitors?
We confronted participants with their own perception: What do I perceive? If I perceive something, what can I do with it? One tour, for example, was about the perception of Kottbusser Damm. The tour followed the course of a typical 18th century Sunday walk: through Cottbusser Thor out of the city on a sandy avenue to the spacious meadows of Hasenheide. This narrative corresponds to what we archetypically understand by a picturesque landscape and would call “beautiful”. Nowadays, the city has spread far beyond the former city limits, and the former rural character of Kottbusser Damm has given way to a noisy, 6-lane road. The tour was as much about creating a sense for the historical dimension of the place in the participants as it was about questioning what we consider beautiful and why.

The interview was conducted by Carsten Jan Weichelt