Ai Sato

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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

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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

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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.

“Inselgalerie” – The everyday life of a gallery

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Publ. 04.14.2020

On my way to Inselgalerie in Friedrichshain, close to Frankfurter Tor, the area does not seem like a typical place where I would find a gallery. According to gallery director Eva Hübner, galleries must be located in every district of the city. “[…] This part of the Friedrichshain-Kreuzberg district has less cultural and creative offerings than, for example, the area around Warschauer Strasse, and as a result, there are not so many people who often go to galleries without fear of contact“, so Hübner. What does fear of contact mean? There is a certain fear of entering a gallery, but are somehow afraid to enter. I was one of them – but why? Perhaps because a visit to a gallery is not as anonymous as a visit to a museum? “Maybe, but I don’t exactly see it this way”, says Mrs. Hübner. Continue reading “Inselgalerie” – The everyday life of a gallery

Susanne Britz – Digitale Fotodrucke

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Publ. 03.23.2020

Same place, different artist.  I’m still at the Inselgalerie and visiting the exhibition “transformer” because another artist is presenting her artwork here.

Susanne Britz has focused on photographs, pigment prints, and installations of everyday objects. The working process behind these works is exciting and is based on each other, so Susanne Britz runs through different phases during her creative process: it probably starts with an idea, then a spatial installation follows. Here she uses everyday objects from the household, sports equipment, tools from the studio or children’s toys. Once the installation is finished, she takes a photo of this work. Afterward, the photo gets digitally overdrawn.

Many of her artworks that are exhibited here seem like instructions to me, even if I am not sure for what exactly.  But if I am honest, it probably doesn’t matter.

I like the strong colors and the general idea behind this artwork. It’ s funny to see all the things and to realize what you can do with everyday objects.

Usually, I would recommend a visit to the gallery, as the exhibition has been extended.  But nothing is normal these days: Unfortunately during the Corona COVID-19 Pandemic, it is not possible. If you are interested in the art of Susanne Britz, please have a look at her homepage or check the Instagram account of the Inselgalerie.

Homepage Inselgalerie Berlin
https://www.instagram.com/inselgalerieberlin/
Susanne Britz Homepage

#stayhome
#staysafe
#stayhealthy
#takecare

See you soon!

Carsten

Mia Hochrein – Fremde 1 & Fremde 2

———— Filed under: Art ⁄⁄ Artist ⁄⁄ Artwork ⁄⁄ creative writing ⁄⁄ Exhibition ⁄⁄ photography
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Publ. 03.10.2020

The artist Mia Hochrein works with many different tools for her art. She decides in the creation process which creative tools she uses for her work. As a result, she creates photographs and also installations or performances.

When I stood in front of these two photographs, it was instantly clear to me that I would write about them. Why? Well, let’s start:

Mia HochreinWhat do I see immediately? Two people wearing different textiles and always several of them. The textiles look like old towels, shirts, tablecloths or window curtains. In both pictures, the faces are covered. In my opinion, this gives the photographs anonymity and something mysterious.

Gender is also not directly interpretable. Is it the artist herself, or is it a woman and a man? The hands in the right picture seem a little more masculine, but the feet in the left picture seem more feminine. Perhaps this is too much stereotypical thinking. In the left photograph, the toes also point towards the wall. The rest of the body, however, appears as if the person is looking at me with his or her face. I start thinking and I have to find out what these photographs represent.

Mia HochreinI take a look at the titles of the photographs. They are called “Strangers 1” and “Strangers 2”. The exhibition has the title “transformer” and the gallery manager Eva Hübner tells me that the textiles are garments. Clothes that were once worn by the artist’s mother and grandmother. Several generations are thus connected, quite inconspicuously. Thus the photos express the following for me: Even if some of them are no longer with us, we still carry them with us throughout our lives.  They are a part of us.

Because of the anonymity, I can identify myself more easily with the basic idea. Do you?

The exhibition is on until 23 of march at Inselgalerie Berlin. Have a look!

Marie Kirchner – When Objects Speak Back 1-3

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Publ. 03.4.2020

I’m in the house Schwarzenberg visiting the Neurotitan Gallery. First of all, I walk through the first large room to get into another, a little smaller one. In front of me, there are three overhead projectors. On top of them, white objects that at this point I can’t quite make out yet. I walk closer to the installation. Many small pieces of paper are spread on the floor. I stand directly in front of them and realize that different sentences are written on them. Questions, answers, quotations – it reminds me of a dialogue.

I don’t understand the installation yet, but I think it is exciting and I would like to learn more about it. At one of the overhead projectors, I can see a big elephant tusk.  Not real, of course, just fake. So, what is this installation about?

The artist, Marie Kirchner, is working with colonial objects and with all the questions they raise. Why were they kept in families, and not in museums, for hundreds of years, many generations, and two world wars? The object performance was created in the context of her research on colonial heirlooms.

In the performance, the objects are also meant to become actors, a game with perspectives takes place: am I looking at the objects?  Are the objects looking at me?  Since overhead projectors were used in the Neurotitan Gallery for the first time (normally the objects were always at the eye level of the viewer), I have the feeling of “looking down from above” – which makes me feel more superior.

In this gallery, Marie Kirchner focuses on the object in light and the shadows it creates.  This light/shadow play triggers me. There is something threatening and at the same time mysterious about it, and I ask myself, what the elephant tusk must have seen or experienced? If he were able, he could tell me perhaps so many things. Here it happens: the feeling of superiority disappears and the object becomes an actor. A dialogue takes place in my head. I have to smile a little when I think about it because I imagine myself talking to an elephant tusk. A little fun is necessary.

Now that I know the whole background of this installation, the meaning of the objects and how they treated me in the way of thinking and seeing,  I like this installation really much. Unfortunately, there was no piece of paper in the gallery itself through which one could have learned more.

Marie Kirchner was born in 1980 and grew up in Hamburg. She studied fine arts and has her studio on the RAW GELÄNDE in Berlin. She belongs to the “Freie AusstellungsKollektiv FAK Berlin”.  Come and have a  look at it.

 

Hi, I’m Carsten!

———— Filed under: Allgemein ⁄⁄ Artist ⁄⁄ creative writing ⁄⁄ real
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Publ. 02.13.2020

It’s not just a new year, here is also a new person writing for you. Who am I? I’m Carsten.
I’m studying creative writing in Berlin. Since I can think, I have been interested in different forms of art. At the age of five, I started acting, making music and singing. Before I moved to Berlin in 2018, I had trained to be an actor in Cologne for two years. Besides creative studies, I also tried out other courses of study such as business administration, media management, art and political science. But my creative streak won. Luckily.

For me, life is art with many different stories. So, art is life for me, too; and every person in this big city has their own story and individual life. Art has this as well: individualism. Art can be created or presented in so many ways, maybe even in ways, we don’t know yet. However, if I don’t like it sometimes, I’m still totally fine with it because it’s just my personal opinion and art doesn’t have to affect or impress everyone in the same way.

But what is it that fascinates me so much about all these art forms? I am interested in old but also modern art. Thanks to new technology and a lot of creative people, so many things are possible today and the process is still going on. You never know what will come next. I find that incredibly exciting and interesting. I would like to tell you the stories that move me and catch my eye and which I think are important to be told. Not only does Art embody fantasy but also society and social problems. It can be inspiring, political, arousing and enlightening.

Art offers space for discussion – today this is more important than ever. Why is that? In my opinion, fewer and fewer different opinions are accepted; instead, black and white attitudes towards things increase. Society is splitting up. Maybe art, in whichever form, can help here and remind us of talking and listening to each other.

But it’s not just art people want to get to know and see in this time – they are willing to listen to and read interesting and good stories, too. Here I am: I will find both for you.

Let’s start with art!

 

Nora Bork -The Lady with the Ermine

———— Filed under: Allgemein ⁄⁄ Art ⁄⁄ Artist ⁄⁄ Artwork ⁄⁄ Design ⁄⁄ Digital ⁄⁄ painting ⁄⁄ real ⁄⁄ Uncategorized
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Publ. 07.3.2019

The Lady with the Ermine is one of -in total- four women portraits of Leonardo DaVinci and got produced during the years of 1488 and 1490.The young woman you see is Cecilia Gallerani, mistress of the former duke of Milan. But this has never been her only role – she was well known as one of the most beautiful and talented poets of her time.

Originally, this piece of art was a remittance work, which the Duke wanted to get produced.

…But there is still the question of  what is has to do with the ermine on the woman’s arm.?! – Actually, Leonardo DaVinci clearly and specifically alludes to the duke, whose nickname was The White Ermine.

To let you face Cecilia’s smile, producer Nora Bork was using the stop-motion technique.

Stop Motion Animation is a technique used in animation to bring static objects to life on screen. This is done by moving the object in increments while filming a frame per increment. When all the frames are played in sequence it shows movement.

Nora Borks’ video is a nice example of how mediatization and technization can be used to bring us closer to artworks. In this case, it is about the creation of a new possibility to directly interact with the art piece. This new access is in addition a clever way to trigger the viewers mind and let him create stories about this mystical young woman with the Ermine on her arm.

Exhibition Introspective in Perspective

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

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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.