Artist Interview – Joan Pañell Fernández de Liencres

———— Filed under: Allgemein ⁄⁄ Art ⁄⁄ Artist ⁄⁄ Artwork ⁄⁄ painting

Author:
Publ. 01.9.2025

ALL EYES ON

>>> Joan Pañell Fernández de Liencres <<<

Dear Joan,

It is a pleasure to welcome you as an interview partner and get the chance to find out more about you, your artistic practice and philosophy. So let’s directly jump in with some deep questions:

WHAT DOES ART MEAN TO YOU?

J: Art means everything to me. It’s the act of creating something out of nothing, which is something beautiful. The process of creation is wonderful, and I believe the artwork itself is greater than the artist. Art can convey things that words cannot, and it’s something universal that everyone can relate to. It’s a deeply personal experience.

WHAT IS YOUR PERSONAL DEFINITION OF IT?

J: For me, art is an act of pure expression—a way to channel my inner world and emotions onto a surface. It’s a bridge between the personal and the universal, where I can explore my own experiences while creating something that resonates with others. Art, in my view, is not just about the final piece; it’s about the journey of creation itself, the exploration, the mistakes, and the breakthroughs. It’s a process of discovery and connection, both with myself and with the world around me. Art is the freedom to be vulnerable, to reveal what words cannot, and to allow others to find their own meaning in it.

Before we go on, show us what you are currently working on:

J: This is my latest piece.

Tittle: R6 / Medium: Mixed technique on paper / Size: 59.4×42 cm / Year: 2024

Let’s talk about your artistic practice. You are an autodidact and teach yourself.

WHAT WAS THE BIGGEST CHALLENGE TO LEARN?

J: My biggest challenge was overcoming the fear of making mistakes. Once I realized that mistakes are part of the creative process, I wasn’t held back or limited in my work. You have to make mistakes to learn, and it’s not something you should try to avoid. I feel an artist’s journey is long, and it should be taken step by step.

WHICH STRATEGIES DO YOU USE TO PROGRESS?

J: My strategy for progress is simple: create, create, and create. I try to paint as much as possible. By continuously working, my work evolves and refines itself on its own.

In your biography, you say that you are using bright colors, dynamic brushstrokes and abstract forms to convey deep emotions and personal experiences.

WHAT KIND OF EXPERIENCES ARE THESE?

J: These experiences are moments in my life when I’ve felt strong emotions. I’m inspired by times when things weren’t going well, and I felt like I hit rock bottom, as well as moments of joy when I felt on top of the world. Each personal experience made me feel a certain way, and I try to use that energy to propel the painting on the canvas, creating something beautiful and unique for the viewer. I’ve had a rough past, and I find painting therapeutic because as I express myself on the canvas, I feel my wounds are healed.

SITUATIONS OF EVERYDAY-LIFE OR PRIVATE MOMENTS OF DEEP EMOTION AND SELF-REFLECTION?

J: Private moments of deep emotion and self-reflection. These moments made me who I am. Abstract painting is a journey of self-discovery.

IS THERE FOR EXAMPLE A SPECIFIC COLOR THAT REPRESENTS A SPECIFIC EMOTION? OR A BRUSHSTROKE THAT SKETCHES AN ATMOSPHERE?

J: In my abstract painting, color and brushstroke are emotional languages. Deep blues evoke introspection, while fiery reds convey passion and urgency. Bold, sweeping strokes suggest movement and power, while delicate lines speak of fragility. Layered textures symbolize memory and complexity, inviting personal interpretation. Every mark is a visceral expression, creating space for connection and meaning.

WHAT DO YOU WANT TO TRIGGER IN THE RECIPIENT?

J: I seek to trigger introspection and emotional resonance in the recipient. My work is a dialogue of color, form, and texture—inviting viewers to explore their inner landscapes. I aim to awaken memories, evoke emotions, and spark personal interpretations. Each piece is an open question rather than a statement, encouraging contemplation and connection on a deeply individual level.

WHICH OF YOUR ARTWORKS HAS THE GREATEST EMOTIONAL CONNECTION OR SYMBOLIC VALUE FOR YOU? Why? What is the context?

J: One of my most emotionally significant works is a large canvas titled Tic Tac Toe. It emerged during a time of personal introspection and change. While painting it, I felt like a little kid again, and it marked a turning point in my artistic career. I used to do figurative painting, but shortly after this piece, I shifted to abstract expressionism. I enjoy painting abstract works more because I feel they’re a purer form of art and expression.

J: Title: Tic Tac Toe / Medium: Oil on canvas / Size: 300×120 cm / Year: 2023

In your biography, you say that Cy Twombly had a big influence on you. For those who don’t know him. Cy Twombly was one of the most important representatives of abstract expressionism. He was american artist and working as a painter, photographer and object artist. As part of his expressionist paintings, he liked to reproduce historical sequences and tell its stories due to an artwork series.

DO YOU ALSO TELL STORIES? WHICH ONES?

J: Yes, I tell stories, though mine are more emotional than historical. While Cy Twombly drew from mythology and history, I explore personal narratives and universal human experiences. My work reflects themes of memory, transformation, and the passage of time. Through abstract forms, layered textures, and intuitive marks, I create visual stories that resonate on an emotional level, inviting viewers to connect through their own interpretations and memories.

WHAT IS THE SPECIAL THING ABOUT CY TWOMBLY THAT TRIGGERS YOU?

J: What fascinates me about Cy Twombly is his ability to merge raw emotion with intellectual depth. His gestural marks feel instinctive, yet carry layers of meaning—historical, poetic, and personal. I’m particularly drawn to how he transforms writing into visual art, blurring the line between text and image. His work has an almost primal energy, where every scribble and smear feels charged with memory and story. This fusion of spontaneity and symbolism inspires me to embrace imperfection and let intuition guide my creative process.

Let’s talk about being an artist…

IS THERE A PORTRAIT OF YOURSELF?

J: This is a portrait of me in my studio in Barcelona. It’s part of a series of studio photos taken by my photographer friend, Diego Martinez Chacon. At the time, I was sharing a space in an industrial unit with other fellow artists. The paintings in the background emphasize the importance of the work.

WHAT ARE YOUR NEXT GOALS AS AN ARTIST?

J: My next goals as an artist are to push the boundaries of my creative process and deepen the emotional resonance of my work. I aim to explore larger-scale installations that immerse viewers in a multi-sensory experience. Additionally, I want to exhibit internationally, connecting with diverse audiences while staying true to my evolving artistic voice. Ultimately, my goal is to create art that sparks introspection and leaves a lasting emotional imprint. I also aim to work with art galleries to promote my work.

HOW DO YOU GET INTO YOUR CREATIVE FLOW?

J: I get into my creative flow through a mix of routine and spontaneity. Sketching freely or making intuitive marks on a blank canvas helps break initial resistance. Once I’m immersed, I let intuition take over, allowing the process itself to guide me. It’s about balancing intention with letting go.

WHAT IS YOUR IMPULSE / INSPIRATION FOR CREATING A NEW PIECE OF ART?

J: Creating art is a part of me—it’s not just an option, but a necessity.

DOES YOUR CREATIVE CREATION PROCESS ALWAYS FOLLOW A CONSTANT STRATEGY or IS IT ALWAYS DIFFERENT?

J: My creative process is fluid rather than fixed. While I have certain rituals, like preparing my workspace or starting with intuitive marks, each piece unfolds differently. Sometimes the process is deliberate and structured; other times, it’s spontaneous and driven by emotion. I let the artwork guide me, embracing unpredictability as part of the creative journey.

WHAT DO YOU LOVE / HATE ABOUT BEING AN ARTIST IN OUR CURRENT TIMES?

J: What I love about being an artist today is the limitless access to inspiration, global connection, and the ability to share my work instantly. The digital age allows for creative collaboration across cultures and disciplines.

What I find challenging is the pressure for constant visibility and the fast-paced art market, which can dilute deeper creative exploration. Balancing authenticity with the demands of a digital-driven world is both a struggle and an opportunity.

ANY ADVICE FOR ALL THE ARTISTS OUT THERE?

J: Stay true to your vision and trust your creative process. Embrace experimentation, and don’t fear failure—it’s where growth happens. Create consistently, even when inspiration feels distant. Most importantly, make art for yourself first; authenticity will resonate with others.

So, now it is about you! Q&A in QUICK AND DIRTY

YOUR FAVORITE PENCIL

J: Regular standard pencil.

YOUR FAVORITE COLOR

J: Yellow.

YOUR FAVORITE CANVAS

J: My favorite canvas is the regular, sturdy cotton canvas—the bigger, the better

PERSONALITIES THAT WERE INFLUENCING YOU THE MOST (artists, musicians, writers, philosophers, private idols…)

J: Cy Twombly and Joan Mitchell.

AN ARTIST, YOU WOULD LIKE TO HAVE A BEER WITH

J: Jean-Michel Basquiat.

IF YOU COULD CHOOSE AN EXHIBITION TOPIC (and space) – WHICH ONE WOULD IT BE?

J: The topic would be “The Fluidity of Time.” The space would be large, open, with natural light flooding through.

Dear Joan, thank you so much for sharing your insights. Your Art Beat wishes you all the best and keeps excited about your future activities.

FIND OUT MORE about Joan, his artwork and upcoming activities:

Website: www.joanpfart.com

Instagram: joanpanell_art

Impressions – SCOURGES OF HUMANITY

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

Author:
Publ. 09.17.2024

The exhibition Scourges of Humanity was presented by YOUR ART BEAT e.V. and took place from August 22nd to 25th, 2024 in Flutgraben.

The thematic exhibition presented artworks by 22 artists from different nations and disciplines. In addition, the event was accompanied by 13 music and performance acts.

The YOUR ART BEAT e.V. would like to thank all the artists, musicians, guests and supporters who made the exhibition such a big success.

Here you can find more information about the artworks and artists:

Artworks_Artists

PriceList


ARTISTS

Adriana Schmidt

Ai Sato

Aliette Bretel

Dila Özcan

Elizaveta Bogachova

Eric Terrey

Hasti Najafi

Kim Dotty Hachmann

Lita Poliakova

Peter Hintz

Rebekka Semenov with Su Ürey & Felicitas Thim 

Sanni Welker with Axel Caesar Bockhorn-Vonderbank & Wilhelm Voigt

Thomas Richartz

Uri Moss with Merav Maroody & Lukas Kuhne

yv_onka

Zuzanna Rozanska

SOUNDS & PERFORMANCE

Alex and Simon

Askondo

C3N2 & Chris Colombo

delazoe

Die Miljören

Janne Marei

Jens Blond 007

Lila

Lua Wood

Sigi Sonic

Sleepy Joe

Turner

Wollken Piano

LIGHTING

Procyon

PRESENTEND BY YOUR ART BEAT e.V.

SCOURGES OF HUMANITY

———— Filed under: Allgemein ⁄⁄ Exhibition
Tagged with: // // // // // // // //
Author:
Publ. 07.18.2024

THE NEW EXHIBITION BY YOUR ART BEAT:

FORGIVE ME FATHER FOR I HAVE SINNED.

Scourges of Humanity – Are it the external circumstances that cause feelings of oppression and pain, or do we inflict most torment and suffering on ourselves? 

And which pain is worth suffering for and which is merely an absurd construct arising from sadomasochistic individualism?

The exhibition SCOURGES OF HUMANITY does not only focus on the dark aspects of the topic – it also aims to demonstrate constructive, empowering and humorous perspectives through warm-hearted confrontation and interactive elements. 

YOUR ART BEAT seeks to provide a safe space and to encourage participants to critically question the existing “varieties of reality”. Through collective reflection, we hope to adopt more peaceful attitudes and derive optimistic impulses for the future.

…probably we could suffer less?

What to expect at the Vernissage?

Art, Sounds and Drinks! Besides exhibition and the sales of the artworks, the event offers a live program and bar service.

Where can you find us?

Flutgraben Berlin

Am Flutgraben 3, 12435 Berlin

When will the exhibition be?

22.08. // Vernissage 07:00 pm

23.-24.08. // Open from 06:00 pm

25.08. // Finissage 03:00 pm 

Check out last year’s exhibition.

Echo Documenta 15

———— Filed under: Exhibition

Author:
Publ. 09.18.2022

Echo Documenta 15

Of course, I visited Documenta 15. Part of my family lives in Kassel, and we combine a family reunion with a visit to Documenta every time the exhibition takes place.
Experiencing an exhibition is completely different from inspecting or even judging it by media without ever having been there.

There are, of course, quite careful digital insights, e.g.: https://www.ardmediathek.de/video/hauptsache-kultur/documenta-fifteen-weltkunst-in-kassel/hr-fernsehen/Y3JpZDovL2hyLW9ubGluZS8xNzQ0NTk.

Especially in the case of Documenta 15, many people gathered around the media echo and judgment of the journalists, the majority of them certainly did not visit Documenta either. Very unfair for the many artists involved who certainly feel stampeded.

An exhibition is an experience in space combined with a social walk-through. In the best case, lasting impressions are created. For example, I was deeply impressed by the orchestration of the group INSTAR from Cuba, Dialogue Kassel-Havana; there is also a great video I will not forget.

Instituto de Artivismo Hannah Arendt

Political art is certainly problematic in the narrowing down to a proclamation. This, however, is not a strong limitation in the individual work of art, also repelling visitors/audience.

I always remember the example of an exhibition in Heidelberg many years ago I was co-responsible for. We had guests from Switzerland who were very religious. At one work of art I had hardly noticed before, they burst into tears. Even now I remember the title: Jesus-Egon-Jegon (with little brown copulating figures). Fortunately, that was not the stamp of the whole exhibition. We were able to reconcile them.

Artistic freedom, that’s essential; otherwise you can forget art as a blueprint for the future.

But Bazon Brock gave me the essential hint: when I cut the connection between the individual artwork and the audience, I get into the problem of the political stamp.An artists’ collective with a political claim automatically enters the social discourse.

You have to take into account the taboos in the host country of the exhibition. There are taboos in Indonesia, too. Hammer and sickle is not acceptable there.

I asked an artist friend who lived in Indonesia for a long time: “Of course they are also anti-Semitic,” but actually it was mainly communists and Chinese who were killed there. But it doesn’t work very well in the exhibition concept.

Our taboo also is not always very well researched and reflected by the journalist community.
Ascent of King Richard I to the throne in London on September 3, 1189, a Sunday: “On Coronation Day, about the hour that the son was sacrificed to the father, the Jews in London began to be sacrificed to their father the devil, the fire sacrifice [holocaustum] not being completed until the following day.”[7]

We Germans did not have the idea, but we industrialized it, “Death is a master craftsman from Germany.” (Paul Celan)

And the master must also be liable for his craft. And that is why we rightly apply the taboo stamp.
The Ruangrupa collective rightfully deserves it, but not the many artists involved in Documenta 15.

 

 

 

 

 

 

Your Art Beat goes Podcast – Folge 2: Was bedeutet Heimat?

———— Filed under: Art ⁄⁄ Podcast

Author:
Publ. 08.17.2022

In Folge 2 unseres Podcasts redet Carsten Jan Weichelt (YAB) mit den Künstlerinnen und Dozentinnen Kim Dotty Hachmann und Yvonne Michalik über das Thema Heimat.

me, my family and I_© Kim Dotty Hachmann_photo and video.jpg


Hierbei stellen sie sich die Frage, was Heimat damals bedeutet hat und wie man den Begriff in der Postmoderne definieren könnte? Wann ist Heimat
Heimat, welche Faktoren spielen eine Rolle und was hat es mit der Wurzelfamilie, Flügeln und der Suche nach sich selbst auf sich? Hört euch jetzt die zweite Folge an und kriegt Antworten auf diese Fragen und wer weiß, vielleicht stellt ihr sie euch am Ende selbst?

©Foto bei Yvonne Michalik

Hier könnt ihr euch den Podcast auf Spotify anhören.
Hier könnt ihr euch den Podcast auf anchor.fm anhören.
Hier könnt ihr euch den Podcast auf Amazon anhören.
Hier könnt ihr euch den Podcast auf Apple Podcast anhören.

Hier gelangt ihr zur Homepage von Kim Dotty Hachmann.

Carla Marini

———— Filed under: Allgemein ⁄⁄ Art ⁄⁄ Artist ⁄⁄ Artwork ⁄⁄ Market
Tagged with: // // // //
Author:
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.

Summer Art Festival @ Computerspielemuseum – präsentiert von Your Art Beat, Strollology und Dogma2021

———— Filed under: Art ⁄⁄ Digital ⁄⁄ Market ⁄⁄ real

Author:
Publ. 08.22.2021

Am 03. und 04. September 2021 heißt das Computerspielemuseum Euch herzlich zum Spielen, Tanzen und Entdecken willkommen.

Im Rahmen des Summer Art Festivals @ Computerspielemuseum“ stellen sich verschiedene Künstlergruppen vor, die ein Programm aus Musik, Digitaler Kunst und Fashion bieten. Die Veranstaltung findet Freitag (03.09.) und Samstag (04.09.) auf der Terrasse des Computerspielemuseums Berlin statt und beinhaltet unter anderem einen Stoptrick Schnupperkurs, eine Freestyle Cypher Competition und eine kreative Performance des Modelabels SYLD.
Strollology präsentiert „Dig Yourself Out Of The Shit“ als Fassadenmedium. Abschluss des Events wird der Live Kick-off Podcast von Dogma2021 zum Thema Technologie, Kreativität und Gesellschaft sein (Samstag, 20:00 Uhr / Moderation: Karim Bartels / Speaker: Dr. Matthias Welker -Your Art Beat e.V. und Lars Roth –Strollology / max 20. Personen).

Das Computerspielemuseum, der Your Art Beat e.V. und Strollology freuen sich auf Euren Besuch! See you!

PROGRAMM

Freitag

16:00: Stage Piano – Rosanno Snel

18:00: Stage Piano – Rosanno Snel

Samstag

14:00: Führung auf der Karl-Marx-Allee – Achim Bahr, Stalinbauten e.V.

15:00: Stoptrick Schnupperkurs – Dominik Mader & Ben Lützow

17:00: Tanz Performance – Ela & Rubén

18:00: Line in Cypher Competition – Sadi da Kid, Pdro420, Liuz

19:00: Kreative Performance – SYLD mit DJ Diana May

20:00: Dogma2021 Panel – Live Podcast #wirsinddogma

DURCHGEHENDES PROGRAMM

Interactive Game – Yuxi Long

VR Booth – Your Art Beat

Digital Artworks – Michael Filmovi

Virtual School – Aizhan Sagayaneva

Kunst aus dem Computerspielemuseum

Fassadenmedium DYOOTS

OPEN CALL FOR ARTISTS AND DESIGNERS

———— Filed under: Allgemein ⁄⁄ Art ⁄⁄ Market
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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!

Blickwinkel II – by Sophia Vecchini

———— Filed under: Art ⁄⁄ Exhibition ⁄⁄ Market ⁄⁄ photography
Tagged with: // //
Author:
Publ. 03.25.2021

For her exhibition “Blickwinkel”, Sophia Vecchini let people without shelter become artists, as they were allowed to capture their everyday lives with a disposable camera. Sophia Vecchini conceived an exhibition from the resulting material. “It’s a nice feeling to give people the chance to be seen: with their perspectives, their courage and look at the world.” The exhibition can be summed up as unique, human and inspiring. Why? Read the interview and learn more about the special project “Blickwinkel”. If you haven’t read the first “Blickwinkel” interview with Sophia yet, you can find it here.

We conducted our first interview during the planning phase of your project “Blickwinkel”. Now, a few months later, the time has come and “Blickwinkel” is on display in the Wilmersdorfer Arcaden, a shopping mall since 24 March 2021.

Yes, I am very pleased that the exhibition now also has a second venue, namely the Wilmersdorfer Arcaden. Due to the current Corona measures, the exhibition at the Zentrum am Zoo has been postponed indefinitely for the time being. In the Arcaden, the exhibition is presented in a glass box. That’s great, because despite Corona, the shops are open for everyday needs. That’s why the arcades still have more than 10,000 visitors a day. This is, of course, a great opportunity for “Blickwinkel” to be seen (despite current Corona measures). The artworks are also offered for sale at the YourArtBeat Market. This is very important to me as I want the artists to get a financial reward too. Because they have taken the time and reflected things.

In the last interview you said that you wanted the artists to get money. But you also said that there were voices that said: Yes, but if you give money to people without shelter, they will probably spend it on drugs or alcohol.

That people without shelter always spend their money on drugs or alcohol is a prejudice, and in my project I want every artist to be seen as a human being and not as a person without shelter. Because for me, it is essential to emphasise that one should not approach people without shelter with such generalised prejudices. Moreover, for me and Katrin Lück, who is the patron of “Blickwinkel” and the Equal Opportunities Commissioner for the Wilmersdorf-Charlottenburg district, self-determination is very important. Equality means equal rights for all. We don’t tell anyone else how to deal with their money.

How many artists were you ultimately able to recruit for your project?

There are now four artists left. I distributed 14 disposable cameras. From the beginning, 20 pictures were planned for the exhibition. I achieved this goal, but it was planned that there would be one or two pictures per artist. The problem is that, on the one hand, some were not interested in taking part in such a project. Many women were not interested and I could hear a little bit from the social workers on site that women are a bit more ashamed. It is definitely riskier to live as a woman on the street and there are also many more men among the poor people without shelter. In the end, only six of the 14 cameras came back, but I also expected this because people without shelter are not always found in the same places. And if they were not there at the time the cameras were collected – yes, then that’s it. Others didn’t know how to use the cameras and had given up, which is understandable. I could not use the pictures of two of the cameras. But it is clear that disposable cameras simply do not have one hundred per cent performance as a product. I now have four male artists left and of course I am very happy about that. I have also had real contact with two of them. That means we discussed the pictures together. The two of them are simply great people and I sincerely hope that they will get something out of it financially. Both are very grateful to all the institutions that support them.

Do you know how old the artists are?

The two I have had contact with are 60 and 62 years old. Of the other two I don’t know more than their names.

If you were to describe your exhibition with three adjectives, what would they be?

Unique. Human. Inspiring. Well, I hope that others feel the same way, but I have been very inspired by this project. At least that had been one of my goals. The aim of “Blickwinkel” is to inspire people to think about certain social issues. Especially about urban poverty and homelessness; to open up a bit more, that homelessness is not just a stigma that is stuck in our heads.

The exhibition “Blickwinkel” can be seen until 30 April 2021 at the Wilmersdorfer Arcaden “WILMA” . Please pay attention to the Corona protection measures in force.

Sophia Vecchini wants to thank: Katrin Lück, Equal Opportunities Commissioner in the Wilmersdorf-Charlottenburg district & patron of Blickwinkel; Petra Schönberger; the management and team of the Bahnhofsmission am Zoo and the ZaZ, as well as all the individual case workers and social workers of the Berliner Stadtmission who have supported me; the sponsors of the tax consultancy Freiberger & Collegen; the YOUR ART BEAT Team! (Editors, Market & Virtual Booth).

The interview was conducted by Carsten Jan Weichelt