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)

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. „Inselgalerie“ – The everyday life of a gallery weiterlesen

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

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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.

 

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.

The Cut In

———— Filed under: Art ⁄⁄ Artwork ⁄⁄ Design

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Publ. 04.17.2019

»The Cut In« is a duo project formed by an artist, Saverio Tonoli, and a designer, Nona Schmidt, from Berlin.
Between Art and Design – collage is a common topic between the work of the two of them. They paint, cut and compose their images using analogue and digital techniques as part of their creative procedures.

This project investigates glass and its possibilities, not only as a material but as a medium to explore colours, forms and structures.

»Cut In« reinterprets traditional leaded windows and their immersive quality by juxtaposing different layers of coloured glass and integrating the glass collages in the architecture.

»Cut In« are in fact thought to be installed in the space, where transparent and coloured glass shapes blends, overlap and transform themselves under the intervention of light.

A starting point of the project has been the exploration of colours, discovering combinations of harmonic and disharmonic colours in relation with Runge’s theory of colours.

The collages are made out of one painted image on glass. Through different breaking techniques which they call the »Bruchtest«, the painted image is exposed to an unknown factor creating new situations to work with and finally arranged and repainted into one single piece.

YOUR ART BEAT MEETS MUSIC

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

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Publ. 04.5.2019

Kühlspot Social Club is a venue for creative music, theatre, art and culture in Berlin Weissensee. They emphasize „social“ in their perspective on cultural development and try to promote an inspiring community of artists and art lovers. In the field of music, the main focus is on improvised music, jazz, dance music of all kinds, including improvised dance music, tango, balfolk, and everything always live. In the course of the season – there is a break in late summer and in winter – they have one to three events per week, two to four art exhibitions per year and occasional dance parties. Performance art, theatre events, and action painting with improvised music are also part of the spectrum of the program. The room can accommodate up to 70 people.
Kühlspot is the former studio of the Berlin artist Siegfried Kühl, who died in 2016. His son, the artist Christoph Kühl, runs the Kühlspot. The art of Siegfried Kühl is permanently exhibited and contributes essentially to the great ambiance.
For more information see www.kuehlspot.com/kalender.html
YOUR ART BEAT is happy to be part of the Kühlspot community and exhibit some of its artists, among them Christoph Kühl.