London International - London Creative Competition

Transcription

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London International Creative Competition is a vehicle for facilitating
contact between uniquely talented artists and an international audience.
www.licc.me.uk
All rights reserved. No part of this book may be reproduced in any form without written permission of the copyright owners. All images in this book have been
reproduced with the knowledge and prior consent of the artists concerned and no responsibility is accepted by producer, publisher, or printer for any infringement of
copyright or otherwise, arising from the contents of this publication. every effort has been made to ensure that credits accurately comply with information supplied. copyright and all other rights remain that of the artist. Published by Asterisk Press™, © 2008
ISBN-13- 978-0-9814741-0-6
ISBN-10- 0-9814741-0-1
www. AsteriskPress.com
5000 submissions. 95 countries. 65 short list. 15 finalists. 12 jury.
An overwhelming and monumental response to the first annual London
International Creative Competition. The following pages represent the
international art community’s response to an innovative showcase of
creativity. Creativity is defined as the use of imagination or original ideas,
especially as it relates to the production of artistic work. The juror’s of this
competition and exhibition challenged the notion of creative expression
and these artists have risen to the occasion. The vision for LICC is to
create multi-platform resources (web, exhibition and publication) where
decision-makers turn to find international artistic talent. The list of
winners are not only published in this book but lauded on our website
and to the creative arts and media outlets worldwide.
With your encouragement and support, LICC will become the physical
and virtual venue to promote all facets of creativity - from writing, film
and installations to painting, new media and performance art. LICC will
have no boundaries as art has no boundaries. Congratulations to the
artists and salutations to the jury.
Hossein Farmani
Founder
Neil Beloufa
France
Cesar Cornejo
United States
Anne-Marie Creamer
United Kingdom
Paola de Grenet
Spain
Angela Ellsworth
United States
Taina Galis
United Kingdom
Filip Jonker
Netherlands
Adam Kalinowski
Poland
Miró Rivera Architects
United States
Alyssa Pheobus
United States
PTW (in association with CSCEC & Arup)
Australia
Mats Jørgen Sivertsen
Norway
Lucas Soi
Canada
Tiffany Trenda
United States
Liat Yossifor
United States
NEIL BELOUFA, France
“Kempinski”
Video and Film
“Kempinski”
The people of this mystical and animist place introduce it to us.
“Today we have a space station. We will launch space ships and a
few satellites soon that will allow us to have much more informations about the other stations and other stars. “ This science-fiction
documentary has no script and its scenario is caused by a specific
game rule. Interviewed people imagine the future and speak about
it in the present tense. The attractive aspect of the video leads
to exotic stereotypes and a wrong fictitious reading of this true
anticipation documentary. The editing is melodic and hypnotic. Shot
in Mopti, Mali.
NEIL BELOUFA
Born 1985 in Paris, Algerian and French Beloufa studied at the École
des Beaux Arts de Paris, at the Art Décoratifs de Paris, at Cooper
Union in New York and in CalArts in Valencia.
Working primarily with video and sculpture, each piece aims to
outbid on the real like a “tuning” until it becomes unstable and
parasites itself. It can be based on contemporary mythology, cinema,
pop culture stereotypes, true events, social rituals and the echoes
they have into various classical Art forms. Everything is treated on
the same level to produce a new coherent universe real and fake at
the same time that can’t be seen straightly because of the amount
of artifices and mediators. The seductive artifices lead to wrong
readings and blur frontiers between reality, simulation, documentation and fiction. Doing so, a range of interpretations and critical
“side” sights are encouraged from viewers.
Beloufa’s work has been shown including Palais de Tokyo, Paris;
12th Biennial of Moving image, Geneva; MonkeyTown, Brooklyn;
Transmediale 08, Berlin, NCCA, Moscow and Rencontres
internationales Paris/Berlin/Madrid. He lives and works in Paris.
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LONDON INTERNATIONAL CREATIVE COMPETITION
CESAR CORNEJO, United States
“La Cantuta”
Installation
“La Cantuta”
In 1993, 9 students and one teacher from the National University
of Education in Peru were kidnapped and killed by members of the
Peruvian army, their bodies were found 6 months later buried in
clandestine graves in the outskirts of Lima. At that time, I was living
in Peru working as an architect assisting a major sculptor in that
country, and I helped him to design a memorial for those victims.
That monument was never built, but in 2005 when I received an
invitation to show in Peru after 9 years living abroad, I decided to
work on the subject which still held very strong memories for me. I
visited the University and found that at the fashion workshops they
made beautiful flowers out of white fabric for expensive wedding ceremonies in Lima. I thought the element is ironic considering
that the students of that University are normally of very poor backgrounds. On the way back to Lima I had the idea to use it as the
motif of the installation, I also decided to make them of black crepe
paper as a reminder that social injustice is still today an issue in Peru
and to make 60,000, which was the total number of victims during
the years of violence in Peru. More than 1,000 people were involved
in the making of the flowers including students and teachers from
the National University of Education of Peru, school children and
relatives of the victims, I also used 9 student desks and 1 teachers
desk from those used during the years when the killing took place.
The exhibition took place in the Gallery Artco in Lima, in a space of
12 x 9 meters, I created a classroom covering the desks and floor
with flowers.
CESAR CORNEJO
Cornejo received an MA and a PhD in Fine Arts from Tokyo National
University of Fine Arts and Music. He received grants, awards and
residencies from the Vermont Studio Center, Sculpture Space, Center
for Book Art, Lower Manhattan Cultural Council,The British Council,
The Arts Council of England, The Henry Moore Institute, The Tokyo
National University Museum of Art and the Ministry of Education of
Japan. Solo exhibitions have been held at Gallery Lightcontemporary
in London, Gallery ARTCO and Peruvian-North American Cultural
Institute Gallery in Lima and galleries Bellini, Gyokuei and Kobo
Chika in Japan, He has participated in group exhibitions at New Art
Birmingham; Situation Leeds, UK,The London Connection at Gallery
Lisi Hammerlie, Austria, V Biennial Barro de America, Venezuela and
V Biennial S-Files Museo del Barrio, NY. In recent years, he has
been working on the concept of anti-architecture, and is currently
working on the project to create The Puno Museum of Contemporary Art, a community based contemporary art museum in the
mountains of Peru.
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ANNE-MARIE CREAMER, United Kingdom
“Meeting the Pied Piper in Brasov”
Video and Film
“Meeting the Pied Piper in Brasov”
In the Transylvanian town of Brasov, where the lost children of Hamlin
are said to have ended their days, British artist Anne-Marie Creamer
meets a group of Székey children performing an ancient dance. Nearly
everyone knows the story of the Pied Piper. The children, who in
a state of mesmerism followed the Pied Piper of Hamlin, and were
said to have disappeared into a cave within a hill just outside the
town. In total, one hundred thirty children were lost. The mountain
near Hamelin where the children disappeared really exists and is
called Poppenberg. Local legend in Transylvania has it that the children
emerged near the site of the old town square town of Brasov.In
September 2005 on my way to the city of Czikzederea in Transylvania to do an artist residency, I had to pass an hour in the small
city of Brasov between changing trains, and so I made my way to
this same town square only to find it full of dancing children. Struck
by the strange parallel between these dancing children and the lost
children of Hamlin, who were also said to have ended their days here
in a sort of fantastic terrible exile, I recorded the dance to make
this film.Brasov is actually in the heart of Hungarian Székey Land, a
principality of ethic Hungarians who until the end of WW1, when
the Romanians forced many out, they had lived for hundreds of
years. Surrounded by Ceausescu’s communist Romania, the Székey’s
found ways to remember who they were by preserving old forms
of dress, song and dance, such that now Hungarians in Budapest
sometimes travel there so that they bear witness to an older form
of ‘Hungarian-ness’ that they themselves have long forgotten.
Both this self-conscious act of self preservation through dress, dance
and song, and the fictional children of the Pied Piper, themselves
forever bereft of their home, signal a kind of impossible return to an
place of origin that is always a kind of fiction.
ANNE-MARIE CREAMER
Anne-Marie Creamer is a British artist, based in London who has
always been interested in story-telling and experimental approaches
to narrative. Originally a painter, she decided to expand on her
interest how language & narrative are structured to explore a use
of the moving image in 2000. Most of this transition took place
during time spent working in Japan & most importantly CentralEast Europe. Creamer has developed a body of work, mainly
experimental videos, drawings & installations, that form a kind of
expanded, discursive narrative with interconnected objects & images
that explore the relationships between documentary & fiction, realism
& illusion. Her work has often centered on the existence of artifacts or
chance encounters, such as the 200 letters Transylvanian exile Mikes
Kelemen wrote to his fictitious aunt in the 18th century, her
encounter with a group of dancing Székey children in Transylvania,
finding an old coat in an abandoned apartment, or the small
painting that the fictitious Vladimir Slapeta commissioned from
painter Andrew Grassie. All these are included in slyly reflexive &
deceptively simple tales, often featuring nameless protagonists who
search for lost objects or places that seem forever out of reach.
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PAOLA DE GRENET, Spain
“Albino Beauty”
Photography
“Albino Beauty”
Through these portraits I look for and show a different kind of
beauty; by doing so I intend to eliminate the stigmas sometimes
associated with diversity.
PAOLA DE GRENET
Born in Italy in 1971, de Grenet started her photographic career
in London in 1999 after finishing her studies in Graphic Design at
Camberwell College of Arts. De Grenet has done editorial work
for The Sunday Times Magazine, Canary, Evening Standard, Tank
Magazine, British Journal of Photography, New Scientist, Guardian
Weekend Magazine,VQR, Etiqueta Negra and others. In Barcelona she has worked for Vanidad, .H,Vivir en el campo, Elle,
Linea, Ojo de Pez, Rolling Stones, El Semanal,Woman, El Magazine
(La Vanguardia), Ling Magazine and Flydoscope”(Luxair). In 2006,
de Grenet was selected for the photo festival “NOVAMIRADASOLLADAS 06”(Galicia/Spain) and for the contemporary art
festival of Barcelona “BAC 06”. She was also the winner of the
grant “Foto Pres 07” la Caixa, with the project “the albinos of the
Rioja(Argentina)”. In 2007 she was a finalist in the competition
organized by the Associaciò per a les arts Contemporanies de
Vic,selected for the exhibition “5ª bienal de fotografia de Vic” and
exibited the project “The albinos of La Rioja argerntina” Caixa
Forum, Barcelona.
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ANGELA ELLSWORTH, United States
“Hot Air: Keep Yourself Alive”
Video and Film
“Hot Air: Keep Yourself Alive”
Hot Air is Tania Katan’s one-woman, all-boy band. No amps, no
guitars, no breasts, no ovaries, just explosive silence. Stripped down
and ready to rock, Hot Air is one woman with no girl parts and
all the bravado of an entire boy band! She moves to the beat of
Queen, “Keep Yourself Alive,” by giving everything she has to breathe
life into Hot Air.
ANGELA ELLSWORTH
Angela Ellsworth is an interdisciplinary artist traversing discplines
of drawing, installation and performance. She is interested in art
merging with everyday life and public and private experences
colliding in unexpected spaces. She is Assistant Professor of
Intermedia in the Herberger College of the Arts at Arizona
State University in Tempe,Arizona where she teaches Intermedia
Performance and other interdisciplinary art practices.
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TAINA GALIS, United Kingdom
“Minerva”
Video and Film
“Minerva”
A short fiction film (under 5 mins). 35 mm, colour. No dialogue. A
7 year old girl is left alone in her living room and takes off into her
own world.
TAINA GALIS
Taina Galis is a cinematographer. She was born in Bucharest in 1976
but has lived most of her life in London. Taina studied cinematography at FAMU. Before that, she studied philosophy and politics at
Oxford and LSE. Her sculpture, “Trinity cage” was exhibited in the
National Gallery, London, “Back to the Future” exhibition, 1998. She
has shot films in Czech Republic, Serbia, Croatia, Bosnia and India
and was selected for the Berlinale Talent Campus in 2007. Taina has
just finished shooting a documentary set in barbershops in
the Balkans, and later in the year, will be shooting her first feature
film, “Restaurante”, with the director Gabylu Lara in Mexico City.
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FILIP JONKER, Netherlands
“Harvest/Terra Nullius”
Sculpture
“Harvest/Terra Nullius”
Harvest: A “machine” which brings huge hay-bundles into a
museum in rural east Holland. Terra Nullius: A scaled scrapwood
settler-churches build on unused land in Holland and America.
Grounds for sculpture, NJ, USA. Urbitopia.
FILIP JONKER
Born in 1980 in Rotterdam, Jonker currently lives and works in Berlin.
He started the Industrial Design study in the Hague, but quit after
two years because of the compromising environment. He bought a
one-way ticket to Bombay to see the world, travelled by train and
bus back to the Netherlands, crossing Srinagar, Nepal, Tibet, China,
Mongolia and Russia. He found the ideal art school: the AKI-academy
in Enschede, and co-organized a number of expositions and made
an exchange with the Mucha-academy in St. Petersburg. Jonker won
an “Outstanding Student in Contemporary Sculpture” award in the
USA and a Stimulation award in the Netherlands. He then went to Berlin for inspiration and co-organised a big open-air exposition on
an abandoned piece of ground in the centre of Berlin last summer
called “blind spots”. Jonker is currently working on getting the City
of Berlin to use weird city-objects as bases for sculptures.
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ADAM KALINOWSKI, Poland
“The Sky Reaching Railway Track”
Sculpture
“The Sky Reaching Railway Track”
Isn’t it funny that a railway track normally hidden in a labyrinth of
landscape, secretive by one’s “hendiness” becomes here a fragment
of great space, a dramatic point of contact with infinity? In one of
the projects, the rails create outlines of empty vessels, filled up
with the cubature of an indifferent space. In another one, they are
arranged into the form of a long arch section, that points freely
into space.
ADAM KALINOWSKI
Kalinowski was born in 1959 in Poznan, Poland where he lives and
works. He studied Cultural Antropology at The Adam Mickiewicz
University in Poznan, Poland and received his M.A. in 1986. He is
the author of outdoor projects and critical texts and in1998 he
established and ran The Tadeusz Kalinowski Art Foundation.
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ALYSSA PHEOBUS, United States
“I’m on Fire”
Painting
“I’m on Fire”
I appropriate the lyrics of songs that hover near the folkloric intersection of Love and Loss. These songs are littered with suppressed
narratives of violence and misogyny that are rarely acknowledged by
the audience who consumes them. Through a labor-intensive drawing practice that simultaneously invokes and refuses textile traditions strongly associated with women’s work, I pictorialize texts
that are typically performed by desiring, male voices. My drawings
clothe these texts in the simultaneously rebellious and authoritative
aesthetic of a man in black.
ALYSSA PHEOBUS
Alyssa Pheobus grew up in Frederick, Maryland. In 2004 she
graduated from Yale University, where she was the recipient of
several grants and a full fellowship to the Yale-in-Norfolk summer
residency program. She has exhibited her work in the United
States and Canada and is currently a student in the MFA program at
Columbia University in New York.
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PWT (in association with CSCEC & ARUP), Australia
“Watercube”
Architectural
“Watercube”
The so-called WATERCUBE associates water as a structural and
thematic “leitmotiv” with the square, the primal shape of the house
in the Chinese tradition and mythology. The entire structure of the
Watercube is based on a unique lightweight-construction derived
from the structure of water in the state of aggregation of FOAM.
Conceptually, the square box and the interior space are carved out
of an undefined cluster of foam bubbles, symbolizing a condition of
nature that is transformed into a condition of culture. The appear-
ance of the aquatic centre is therefore a “cube of water molecules”the WATERCUBE.
PWT (in association with CSCEC & ARUP)
Peddle Thorp & Walker, now known a PTW Architects is an
Australian firm with offices in Sydney, Beigin, Shanghai and Hanoi
delivering excellence in environmentally sustainable architecture
and masterplanning over a diversity of building types.
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MATS SIVERTSEN, Norway
“iCyborg Manifested”
Photography
“iCyborg Manifested”
Photo series investigating ideologies inherent in spaces and object.
MATS SIVERTSEN
Born in 1974, Sivertsen has been working in Oslo, Norway, as a
designer and animator for 10 years. Alongside commercial work, he
has written and illustrated two “underground” children’s books and
one yet unpublished graphic novel. In 2006 he received a Fulbright
scholarship and went to Baltimore to study for an MA in Digital Art.
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LUCAS SOI, Canada
“Untitled”
Illustration
“Untitled”
1.“At The Base Of The Crucifixion,” 2007, pen and ink on paper
2. “The Dog Park,” 2005, pen and ink on paper
3. “Autoportrait,” 2005, pen and ink on paper
LUCAS SOI
Born in 1979, Soi is a Canadian artist living and working in Vancouver,
B.C. He specializes in pen and ink drawing with a monochrome
palette. As a self-taught artist with no formal training, Soi works
in the tradition of 1970s American underground comix and 19th
Century French Romanticism.
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TIFFANY TRENDA, United States
“A Condemned Opera”
Performance
“A Condemned Opera”
I created a digital environment using the contrasting themes of
an elevator and elegance. I constructed a light box with an image
containing the knobs off an old elevator. Three video images of an
elevator going up and down were projected onto a nine-foot plexiglass box.The performance included me holding a children’s toy that
expanded and contracted. Inside the toy were two small cameras
that connected to two monitors on the outside of the plexiglass
box. There was a continuous sound of an elevator. It is an elevator reaching no destination, an opera with no direction.
TIFFANY TRENDA
Trenda is a graduate of Art Center College of Design and is based
out of Malibu, CA. In 1996 she was honored as a California Arts
Scholar and later attended Pratt Institute in New York. U2.com
quoted her as a star in the making. Tiffany has graced over 40
gallery shows and is said to be a rising artist by Review Journal. She
has received LA Weekly’s Pick of the Week from Peter Frank and has
graced the cover of Apparel News twice.
“Where man and machine intersect is where you will meet performance and digital media artist Tiffany Trenda, whose apocalyptic
aesthetic and soul-baring passion compel us to take a closer look
at our relationship with technology. She demonstrates through her
live performances that the human/machine interface has become
an extension of the body, creating an equilibrium destructive to the
organic form as more and more elements of our human existence
are becoming simulated inorganically.” - V.S. Magni
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LIAT YOSSIFOR, United States
“The Dawning of an Aspect”
Painting
“The Dawning of an Aspect”
These paintings explore the abstraction that a war landscape depicts
in the way that bodies and natures exist together. Initially, this series
of paintings is hard to discern due to the use of a wet-on-wet
technique in which I excavate figurative masses from a dark field of
thick paint (the figurative elements unravel after a sustained viewing). The work is inspired by cinematography from Malick’s The Thin
Red Line and the familiar battle paintings of Theodore Gericault,
and Francisco Goya. My paintings move between over-the-top theatrics (i.e., sentimentalized cinematic & romantic references) and my
connection to conflict and war.
LIAT YOSSIFOR
Yossifor graduated with an MFA from the University of California,
Irvine, and a BFA from the San Francisco Art Institute. Most recently,
in 2007, Yossifor exhibited her new work: in a solo show at the
Pomona College Museum of Art entitled “The Tender Among Us,”
in a group show at the Torrance Art Museum, and a project show
at the Susanne Vielmetter Los Angeles Projects entitled “The Dawning of an Aspect.” Previously her work has been shown in solo and
two-person exhibitions such as: “Portraits of Yfat” at Angles Gallery,
LA; and “The Black Paintings” at Noga Gallery of Contemporary
Art, Tel Aviv, Israel. She has been included in group exhibitions at the
Lyman Allyn Museum, New London, CT; Museum of Modern Fine
Arts, Minsk, Belarus; New Wight Gallery at UCLA, LA (the Wight
Biennial); University of California Gallery, Davis, CA; Claire Trevor
School of the Arts Gallery at UCI, Irvine; and Deep River Gallery,
LA. She was recently written about in the NY Arts magazine article
“Training Ground” by Carrie Paterson, and interviewed by Kimberley Brooks for the Huffingtonpost.
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Mattias Adolfsson, Sweden
Marc Asnin, United States
Matt Baker, United Kingdom
Sara Bavar, United States
Richard Boll, United Kingdom
Sara Bomans, Belgium
Giorgio Borruso, United States
David Bowen, United States
The Bridge Club, United States
Jennifer Celio, United States
Juan Chavez, United States
Carlos Contente, Brazil
Matt Coyle, Australia
Jessica d’Avigdor, Germany
Urska Draz, Slovenia
Uta Elv, Germany
Andrew Eyman, United States
fabric | ch (C. Babski, S. Carion, C.Guignard, P. Keller), Switzerland
Thomas Falstad, Norway
Bob Faust, United States
Marco Ferreri, Italy
Jason Fletcher, United States
Martine Fougeron, United States
Tamar Frank, Netherlands
Wolfgang Hametner, Switzerland
Sean Hovendick, United States
Mitya Kushelevich, Germany
Marcio Kogan, Brazil
Man Lok Law, China
Ed Lippmann, Australia
Carolyn Mason and Susannah Slocum, United States
David Miles, United Kingdom
Frog Morris, United Kingdom
Karim Najjar, Austria
Kim Herforth Nielsen, Denmark
Adam Niklewicz, United States
Kristen Nyce, United States
Andrew Ohanesian, United States
Rok Oman & Spela Videcnik, OFIS ARHITEKTI, Slovenia
Nachaat Ouayda, Lebanon
Liliana Ovalle, Mexico
Robin Provart-Kelly, United States
Case Randall, United States
Miguelina Rivera, France
Comenius Roethlisberger, Switzerland
Rod Roodenburg, Canada
Daniel Rosenbaum, Australia
Ted Sabarese, United States
Matthew Salenger, United States
Indre Serpytyte, United Kingdom
Christopher Silva, United States
Andrew Smaldone, Italy
Mark A. Smith, United States
Bryce Speed, United States
Bob Stevens, United States
Saskia Takens-Milne, United Kingdom
Tim Taylor, United Kingdom
Michael Tole, United States
Bridget Walker, Australia
Christian Weber, Germany
Liat Yossifor, United States
Paola Zampa, Italy
MATTIAS ADOLFSSON, Sweden
“The Whaler”
Illustration
40x30 cm. For a personal project about movement.
MARC ASNIN, United States
“Uncle Charlie”
Photography
Uncle Charlie was my hero, godfather, and a big tough
tattooed guy with a gun in Brooklyn in the 60s. Charlie
was everything a boy in my world wanted to be. Looking back, I realized it was more my fantasy than reality.
When I caught up with him later in life I was shocked
to see what condition he was in: My “dark hero” that
appeared in front of me was now in an anorexic and
catatonic state. Charlie, who was hopelessly immersed
in his life “waiting for Godot,” became a twenty-seven
year journey. What haunts me is whether these photographs were provoked by my need to figure out what
Charlie means to me.
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MATT BAKER, United Kingdom
“Shinglehook”
Installation
The concept was a ‘place’ rather than an ‘object’ in the
landscape - Shinglehook is a place to wait for geology. Growing
from the opposite shore of the loch is a new land bridge that
will eventually divide the water in two.The four bronze floats
are precise castings taken from the material that comprises
the growing land bridge.These small floating ‘islands’ await the
approaching land. The line of floats is free to move with the
water but is anchored to the land by underwater cabling held
fast to the two oak structures, half-buried in the shale.
SARA BAVAR, United States
“Generation Tehran”
Video and Film
Women in burkhas and bearded men in turbans--is this what you
think when you hear Iran? Or is it uranium enrichment and dictatorship? What if you traveled there and saw young men and women
dressed in the latest fashions carrying the latest technology? What if
you heard Iranian rap and saw people dancing in the streets? Would
you still perceive Iran in the same way? Generation Tehran is a documentary short that will change your mind about Iran, its people, and
its future. As one of the youngest populations in the world (70% are
under 30), Iran’s youth are helping to build a new country. The foundations they lay will not only affect the Middle East, but also extend
out to the whole world. Born and raised in the United States, Iranian-American director/producer Sara Bavar wanted to create a platform for Iran’s youth to speak their mind and to let the world know
the truth about them--to give them a voice. This film is that single,
unified voice, crying out, demanding freedoms, and dispelling preconceived notions--all of which, we in the west sometimes take for
granted. Using interviews and observational footage filmed entirely
on location in Tehran over the course of three months in Fall/Winter of 2006, the film will surprise, shock and leave the viewer questioning everything they knew, or thought they knew about Iran.
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RICHARD BOLL, United Kingdom
“Gallery”
Photography
These images are from “Gallery”, a series of images taken in Cape
Town, Barcelona and London that examine the stripped down, purified space of the art gallery.They represent a personal search for
balance and refinement through minimalist photography that I began
in 2004 with a project entitled “Studio”, that took an oblique view at
the production of artwork through the depiction of creative environments. “Gallery” applies the same minimalist approach to the
visually clinical aesthetic of gallery spaces, an approach that bridges
the canon of minimalist painting with that of contemporary photographic practice.
SARA BOMANS, Belgium
“Trophy”
Sculpture
Knitted head-like figure hangs on wall with the brains laying on the
floor, connected with a single yarn. If you pull the yarn a sweet song
comes out of the brains. The size of the head is life-size. it symbolizes
unused talent that’s still alive and a decorative element for others
happiness.
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GIORGIO BORRUSO, United States
“Fornarina Las Vegas”
Interior Design
We created, inside chaotic Las Vegas, an oasis for the Italian women’s
fashion line ‘Fornarina’; a place of rest for the retina and the mind.
Visitors are exposed to a series of “marvelous” products encased
in moulded pearlescent and chrome rings, embedded on suspended
cascading panels and unexpected floor undulations that form display
surfaces. Lining the walls with sensual undulating curves are pearlescent eyelids from under which the product is illuminated.
Strange light objects are raining from the sky, bulbs of glass suspended from fuchsia filaments and large tentacles supporting a grid
of directional lights, an obtrusion of eyes, which observe and
at the same time indicate where to concentrate our vision, in this
oneiric experience.
DAVID BOWEN, United States
“Growth Rendering Device”
Sculpture
This system provides light and food in the form of hydroponic solution for the plant. The plant reacts to the device by growing.
The device in-turn reacts to the plant by producing a rasterized
inkjet drawing of the plant every twenty-four hours. After a new
drawing is produced the system scrolls the roll of paper approxi-
mately four inches so a new drawing can be produced during the
next cycle. This system is allowed to run indefinitely and the final
outcome is not predetermined.
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THE BRIDGE CLUB, United States
“The Voyage Out”
Performance
The Bridge Club is a collaborative art and performance
group consisting of artists Julie Wills, Annie Strader,
Christine Owen, and Emily Bivens. Performances have
taken place in both traditional and nontraditional venues,
incorporating and responding to sites such as a city bus,
a public library, an abandoned house, and a laundromat, in
addition to the traditional gallery space. Each performance
is conceived in specific relation to its site and audience. The
ideas embedded in these performances directly parallel the
investigations happening in each member’s individual studio
works, to broadly and specifically include notions of femininity, gender roles, family dynamics, intimacy, privacy, and social
narrative. Costuming, props, and responsive action contribute to The Bridge Club’s collective persona. Each member
wears wigs, shoes, gloves, and a variety of carefully selected
garments that relate directly to the site and concept of a
specific performance.The costuming and other aesthetic choices,
such as sound and environment, create a historical ambiguity
of era that addresses change and continuity of gender and
interpersonal histories. Performances are not scripted per
se, and contain no dialogue, but are rather structured as
an aesthetic and conceptual conversation. Each member’s
actions are in response to concept, space, sound, interaction,
and visual appeal.
JENNIFER CELIO, United States
“A Trip to the Park”
Other
That which changes and that which remains the same form the
basis for my graphite drawings of urban environments. These
images catalog my present and past through my daily driving.
40
45
JUAN CHAVEZ, United States
“Speaker Project”
Installation
The speaker project is a found materials box, constructed with the
purpose of producing an interactive space, which involves the viewer
and performance into physically interactions with sculpture, architecture and sound.
COLAB STUDIO, LLC: MATTHEW
and MARIA SALENGER,
United States
“Cedar Street Residence”
Architectural
Renovation of a 1950’s suburban house. All 3 bedrooms were
removed and rebuilt as free-standing structures in the backyard.
Each new bedroom is a microcosm of the existing house with a
sleeping space, a deck, and a private yard. The new structures force interaction with the garden and weather. Electricity usage
was cut in half after conversion. Appreciation of nature doubled!
42
47
COLAB STUDIO, LLC.: MATTHEW and MARIA SALENGER, with JONES STUDIO, INC., United States
“Moving Memories”
Sculpture
The Arizona 9/11 Memorial; A place to reflect on our evolving understandings of the events and their significance; a place to ponder
the mystery, magnitude, and impact of change. Stainless steel panels
cast sunlight through 54 laser cut inscriptions onto a 42 foot wide
base. Words appear as pixels of light and become legible for a time,
and then blur again. A salvaged steel fragment from ground zero is
placed above a pedestal of concrete mixed with rubble from the Pentagon and earth from Shanksville, Pennsylvania. At noon each
9/11, sunlight shines onto the center of the steel fragment.
CARLOS CONTENTE, Brazil
“Green on Contente’s Show”
Writing
“Interview with the Green Color” is a hand drawn talk show, where Contente (an homonimous self portrait of the author) have a conversation with an green brushstroke about existentialism, color prejudice, politics and chromatic problems.
44
49
MATT COYLE, Australia
“Dream 2”
Illustration
From my ‘Night Stills’ series, where each drawing operates as a
cinematic nightmare, like a film still belonging to some unknown
horror movie.
JESSICA D’AVIGDOR, Germany
“Question to the Digital”
Video and Film
“Question to the Digital” is one of my self-portraits in which I
attempt to reveal what it feels like to live in a world that is overrun
by a wave of virtualisation. It shows a bodiless being which is digitally reproducing itself, quasi infinitely - an allusion to the fact
that the cyberworld mainly focuses on mental connections while
the body becomes less and less important. My work aims to illustrate that identities are increasingly dubious, interchangeable
and reproducible. The question “For what reason can avatars fuck if
they cannot get pregnant?” encourages the recipient to think about
the meaning of virtual spaces, religion and future. The whole scenario could be interpreted as the visualisation of the spiritual
heart of virtuality - questioning whether a ‘spirit’ exists in these
data-spheres at all.
46
51
URSKA DRAZ, Slovenia
“Texile Dress Design”
Fashion
Work between 1993-2006.
UTA ELV, Germany
“Im Schatten Meiner Locken”
Painting
“Im Schatten Meiner Locken” is all about women. Possibly the
artist herself.
48
53
ANDREW EYMAN, United States
“The End”
Video and Film
Collected from 100 films made during 1950’s Hollywood, “THE
END” is a video montage of endings. These clips, showing short
scenes with the words “The End” from a given film, with examples such as “THE AFRICAN QUEEN” (1951), “THE SEVEN YEAR
ITCH” (1957), “NORTH BY NORTH-WEST” (1959), etc. are mixed
and repeated in a random order. All 100 clips are from color films.
The video is 1 hour long and there is no discernable beginning or
end. On the soundtrack is music by Leonard Rosenman. It was taken
from the finale of the 1955 film “EAST OF EDEN” and highlights
Rosenman’s signature “pyramid ending” (an orchestral climax). These
few seconds of music have been cut-up and reorganized, forming a
unique piece, which sounds as if it will end, but doesn’t; it is a “stuck
climax”. Hence “THE END” never ends.
C. BABSKI, S. CARION, C. GUIGNARD
and P. KELLER, Switzerland
“Perpetual (Tropical) Sunshine”
Installation
Perpetual (Tropical) Sunshine is an architecture made of heat and
light. By means of a “screen” composed of several hundred infrared lamps, Perpetual (Tropical) Sunshine relays continuously and in
“live” format the tropical sun, thereby creating an abstract, neverending and planetary form of a summer’s day through meridians
and time zones. Questioning our relationship to contemporary
space, Perpetual (Tropical) Sunshine defines a place out of sync
both temporally and climatically.
50
55
THOMAS FALSTAD, Norway
“Isle of Doom”
Painting
Computer graphics, futurism, romantic landscape painting and dark
sci-fi from film and literature are all references that make up the
skeleton of my work.These images are dystopias and portray a failed
society in decay.These ruins may be all that remain after an imagined
future catastrophe – today’s situation with rising tension between
the east and the west and dramatic global climate changes feeds
these stories from the future. Uncertainty and pessimism about the
following decades lies at the heart of these works.
BOB FAUST, United States
“Nick Cave Boxfolio”
Graphic Design
Mad. Humorous. Ritualistic.Visceral. Elaborate. Grotesque. Glamorous. Unexpected. ... All words used to describe Chicago multimedia
performance artist Nick Cave’s body of work entitled, “Soundsuits,” a name inspired by the sound many emit when in which
they are performed. Cave’s 2006/7 exhibitions were accompanied
by this “Boxfolio” which housed similarly unexpected materials of
the mundane including light wands, iron-ons, magnets, playing cards,
pins, customized ViewMaster, postcards, and, of course, an exhibition catalog and poster. The Boxfolio symbolized a challenge to the
perception of what constitutes art and how it can be reproduced
with the added analogy that both his work product and the Boxfolio, which was noisy when shaken, was inspired by sound.
52
57
JASON FLETCHER, United States
“Elk Cloner”
Video and Film
I have sought to create a time-capsule from the future. This timecapsule acts as a virus upon the realities of the human mind. Forced
full of dangerous warnings and strange excitement of the things to
arrive. With a sky of soot, abstracted ideals bloom unto the perplexed viewer. Will anything be understood and taken from this
insistent virtual reality? Without leaving the realm of artist foundation, I valued total experimentation with persistent themes
through a fluid narrative structure.
MARTINE FOUGERON, United States
“Tête-á-Tête: Intimate Portraits of Adolescent Sons”
Photography
Tête-à-Tête is an on-going series, naturally staged, which reflects
the face-to-face of the mother-photographer and the private world
of two adolescent sons.
54
59
TAMAR FRANK, Netherlands
“Spatial Transition II”
Installation
This installation was created for an exhibition in the Lightart
Museum in Eindhoven in collaboration with sound artist Marten
de Wind. The walls have been painted with a linear pattern of phosphorescent pigment showing deviating perspectives. On entering the space the walls are flushed with green light disguising
the lines. This is accompanied by a low sound. After one minute a
stroboscope begins to pulse combined with a high pitched sound.
30 seconds later the green light extinguishes together with the low
sound. This continues for another 30 seconds after which both the
stroboscope and the high sound stop. The viewer is left to see only
the afterglow of the linear pattern on the walls revealing a different
space. The afterglow is accompanied by a thin sound that slowly
diminishes.
WOLFGANG HAMETNER, Switzerland
“Her Letter”
Illustration
Mixed technique about writing love letters.
56
61
SEAN HOVENDICK, United States
“Be A Man”
NetArt
Learned behaviors have many sources: parents, siblings, friends,
neighbors… however, when those elements are unavailable, or at
best weak in their ability to contribute to the learning process,
the influence that is always available is television. Television grows
more powerful every day, as our filters of critique remain oblivious to its control allowing mediated behaviors to permeate our
senses. The mental anguish, confusion, and isolation brought about
by its endless consumption, feeds on itself with no sign of repentance. “Be A Man” is a representation of the male mediated psyche
constantly in flux and endlessly referencing gender-role behaviors
learned through the media. Is it possible to disregard mediated reality? Can we be sure of our true personalities? Or will the power of
television forever be the driving force of cultural control?
MITYA KUSHELEVICH, Germany
“Home”
Photography
This project deals with the human subconsciousness, with things
which constitute the core of our psyche and determine our
everyday behavior underneath the surface. The pictures, which
came into being within this series, show my personal analysis of the
important questions about our intrinsic “self”. By orientating around
dreams during the sleep, the most direct way our subconsciousness
communicates with us, I created rooms and people within them
based on the similar degree of abstraction our brain uses on
generating dream sequences. Redundant details were left out; everything is concentrated on the emotional basic state of mind, which
constitutes the particular person. Anxieties and traumas, yearnings
of the not recurring past and the possible future, unfulfilled dreams
and destroyed illusions in life, self-love and self-mortification - all
that are the real attributes of the human characters and not their
daily social masquerade. My work is devoted to the visualization of
these emotional basic states.
58
63
MARCIO KOGAN, Brazil
“Cury House”
Architectural
The Cury House is the alignment of design, of exhaustingly
elaborated details, and of execution. The use of the materials,
the form, the intention of the design, quietly materialize, as was
thought out on the drawing board. This well-defined design is
conjectured in the architectural detail. Each tiny re-entering angle
of the house had been projected. The cleanliness and organization
of the project are evident in the completed house. The workmanship, meticulous handicraft labor, gives weight, form and color to
the architecture. In the entrance to the house, a small atrium links
the spaces together: the path to the dining room and the kitchen,
the living-room and, vertically, to the bedrooms on the first story
and a small intimate area on the top floor. In this room, two large
wooden lathe doors open onto a deck where, on one side there
is a beautiful view of the city and, on the other, looks out to the
garden that, further downstairs, continues out from the grand
living room. The living-room opens entirely: two window
moldings are entirely imbedded into the wall, constituting a
continuous open and free space while offering a cross-ventilation
between the two gardens.There is no interference of the structure
in this area.The garden is structured by a wooden floor, a reflecting
pool and minimalist vegetation. The interplay of volumes builds a
surprisingly free and continuous space.
MARCIO KOGAN, Brazil
“Micasa Store”
Architectural
This project is the retail furniture store Vitra located in São
Paulo. We used the materials in their extreme condition,
such as visible concrete executed without any concern about
precision or finishing, or the skin of the back volume where
we used various layers of a steel frame which is usually used
on the inside of the concrete slabs and were found at the site.
Likewise, the interior walls did not get any special finishing
and still have the original chalk markings left by the workers
during the construction, almost an archeological discovery.
The external floor is made of pebbles which are also used to
mix concrete.
60
65
MAN LOK LAW, China
“Thus the Chinese Spake”
Video and Film
The Contemporary Chinese Art (CCA) chic probably is the successor of the yBa chic. But what is the condition of CCA? If contemporary art is the game of the West, whose and who the
Chinese are we referring to under the Westernized Globalization
context? Shall Contemporary Chinese Artists give up their mother
tongue and so as their own wisdom & philosophy? With all these
questions, the so-called most promising condemn-porary Chinese
Artist, Law Man-lok, now shows you how the Chinese learn art.
ED LIPPMANN, Australia
“Butterfly House”
Architecture
This 420 sq. m. house was designed for a Chinese property developer who insisted that the house have “no straight lines” to attract
good “chi” in accordance with Feng Shui principles. The result was
a voluptuous sculptural form which has been widely and critically
acclaimed. The house’s curved forms, aluminium and glass skin
appears surreal in its setting. The two wings of the butterfly - living
wing facing west over Sydney Harbour, the other bedroom wing
facing east over the Pacific Ocean - with the central glazed stair
extracts hot air from the interior. The curved free form glass facade
employs the most up to date technology in its fabrication and installation. Overhangs to the north facade provide passive solar protection to the substantial glazed walls.
62
67
CAROLYN MASON and SUSANNAH
SLOCUM United States
“Maternity & Matrimony”
Performance
For the past year we have been sitting for portraits at the Kmart
and Sears studios with a variety of men and children – all recruited
on craigslist and paid to portray intimate relationships with us. In
the project, Slocum appears as a mother and Mason appears as
a spouse. During the making of the portraits, the photographers
inserted us into the studio’s template poses illustrating motherly
affection or romantic love. The photographs document an ongoing
performance which, to date, is comprised of 20 images.
DAVID MILES, United Kingdom
“Pact; Milkman; Ghost; Inquest; Este Veranon te Mato”
Sculpture
All made from card and wire. All the mobiles have narratives - some
are from local news stories, some are personal.With their movement,
different narrative readings are possible.
64
69
FROG MORRIS, United Kingdom
“Anti-Frieze”
Audio/Music
This science fiction audio drama was made using recording from
my local supermarket. I read a lot of science fiction when I was
growing up. Now I am grown up it feels like I am already living in
the future and I don’t have robot slaves or a bio-dome, all that I
got was some new features on my mobile phone. Though I am
disappointed that I don’t have a flying car, I sometimes like to think
about all the weird stuff we do have already, such as eBay and
supermarket loyalty cards. What are these things?
KARIM NAJJAR, Austria
“Bug, Kinematic Space”
Architectural
A space of isolation, which communicates through its enclosure, an
interface with the outside world. The envelop is an instrument of
communication - it changes its structure according to the events
that occur inside. The space changes its structure through shifting
and transferring its centre of gravity. When the occupant is at rest
the box engulfs itself within the outer shells. In connection with
the phenomenon of the variety of human existence forms,
the conception of Bug is to visualize the solitude of man in his envi-
ronment. The hermit is aware of his seclusion, but nevertheless, he
exposes his being to the public. The kinematical mechanism of the
box allows it to transform from one balanced state to another. By
shifting the centre of gravity in diverse locations, the box
transforms its shape into different forms.The geometrical configuration of the mechanism construction consists of articulated parallelogram elements with hinges, initiating the transformation of the
geometry.
66
71
KIM HERFORTH NIELSEN, Denmark
“Orestad Collage”
Architectural
The Orestad College will be the first in Denmark to fulfill new
educational visions regarding subjects, organisation and teaching
systems. Communication, interaction and synergy has been key
issues. The project displays a visionary interpretation of openness
and flexibility regarding team sizes, varying from the individual over
groups to classes and assemblies, and reflects international tendencies aiming at achieving a more dynamic and life-like studying environment and introducing IT as a main tool. The intention is also
to enforce the students’ abilities gradually to take responsibility
for own learning, being able to work in teams as well as working
individually. The college is interconnected vertically and horizontally. Four boomerang shaped floor plans are rotated to create the
powerful super structure which forms the overall frame of the
building – simple and highly flexible. Four study zones occupy one
floor plan each. Avoiding level changes makes the organisational
flexibility as high as possible, and enables the different teaching and
learning spaces to overlap and interact with no distinct borders.
The rotation opens a part of each floor to the vertical tall central
atrium and forms a zone that provides community and expresses
the college’s ambition for interdisciplinary education.
ADAM NIKLEWICZ, United States
“Selection of Works”
Sculpture
These works draw upon my Polish childhood, and examine to what degree it prepared me for my subsequent and
ongoing emigrant experience. They are a realization that certain visuals and situations from childhood can reappear
(after many years) as symbols defining one’s life.
68
73
KRISTEN NYCE, United States
“Instruments to Facilitate the Study of Speech and Sound”
Sculpture
Thinking about the creation of speech and sound - recording a conversation with a loom operated by the
mouth to make listening into a tactile experience -creating a loom for threatening words with the jaw of a
shark – imagining leaves as tongues and remaking them into new forms to rustle new sounds – creating a new
hairstyle in the shape of a megaphone and braiding my hair to amplify my voice.
ANDREW OHANESIAN and TESCIA SEUFFERLEIN, United States
“30-yr. Fixed”
Installation
15’ x 30’ mixed media installation. The hallway frames the ideal American home that disintegrates upon
further inspection.
70
75
ROK OMAN and SPELA VIDECNIK, OFIS ARHITEKTI, Slovenia
“Infrastructure”
Architectural
Work ranging from 450 square meters to 2500 square meters.
NACHAAT OUAYDA, Lebanon
“Project R”
Environmental Design
Construction of an on site prototype for one unit (112 square
meters) to illustrate the innovation of a pioneering, cost & environmental effective system for rubble recycling resulting from wars or
earthquakes into transitional or permanent structures. Beirut,
Lebanon.
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77
LILIANA OVALLE, Mexico
“Crash Bench-It Came From the Skies”
Design
Something came from the skies, made its way through the ceiling and
collapsed inevitably on a bench.The unexpected incident transformed
the object, the odd impact imposes a new way of being. The bench
is based on the arbitrary and unforeseen nature of an accident. The
object survives a collision out of the ordinary, a shape that responds
to a speculation.
ROBIN PROVART-KELLY, United States
“Mending Series”
Sculpture
I am addressing complicated social issues with simplistic
forms and universal sybolism.Thoughts of vulnerability and
the fragility of financial and emotional stability during a
deceptively acquisitive period in Western economics were
in my mind during the creation of this series. Nakedness,
weakness and susceptibility are interpreted by the use of
colorless glass and the scratched surfaces are alternately
calming, agitated, confused and angry. The scale is pushed
to the extreme to amplify the sense of helplessness, danger
and the brittleness of the glass sewing needles and pins.
74
79
CASE RANDALL, United States
“That Teenage Feeling/Blow”
Sculpture
1.Bronze, glass, chair. 2.Bronze, velvet, chair. This work is based
on my desire to give figural “bodies” to various universal human
feelings.
MIGUELINA RIVERA, France
“Power of Thorns”
Sculpture
Directional lights that signal to each and every one of us – the
observers – appropriated by a myth onto our reality which
continues in search of “forgiveness”.
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81
COMENIUS ROETHLISBERGER, Switzerland
“Dearest Constellation, Sweetest Invitation”
Sculpture
Cocaine, sugar, polyster resin (45cm x 35cm x 12cm) edition 1 + 1AP.
ROD ROODENBURG and DAVID COATES
Canada
“GDC Anniversary Stamp”
Graphic Design
2006 marked the 50th anniversary of the founding of Canada’s
professional graphic design association, the GDC. To mark the
occasion, Canada Post produced a commemorative stamp. Ion’s
intent was to create an icon that represents the Canadian graphic
design community using type and image, and the beaver seemed
a natural. One of Ion’s self-imposed directions was to combine
typography and image in a clever way that epitomizes what graphic
designers strive for when creating a successful icon image. Like the
beaver, the Canadian designer is enterprising, hardworking and in
tune with its environment.
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83
DANIEL ROSENBAUM, Australia
“Formations on Ice”
Interior Design
Ice and Snow Interiors created in Jukkasjarvi, Sweden.
TED SABARESE, United States
“Evolution”
Photography
With all the recent, fiery controversy between evolution,
creationism, intelligent design, science, religion, the political left
and right, etc., I thought it might be provocative to throw my visual
two-cents into the ring. The images beg the question, “is it really so
difficult to believe we came out from the sea millions and millions
of years ago?
80
85
INDRE SERPYTYTE, United Kingdom
“State of Silence”
Photography
The Lithuanian papers wrote that it was a “painful misfortune (a
catastrophe)”, when the Head of Government Security died. Albinas
Serpytis died in the early hours of the 13th of October 2001, in a
“car accident”. No one seemed to know the details, or circumstances,
or provide straightforward answers. His death was premeditated
and brutal. For me this was sufficient proof, he had been eliminated.
All that remains is silence, unknown circumstances. Hidden motivations. A chilling absence. This was my father. The subject of my
indefatigable investigations.
CHRISTOPHER SILVA, United States
“Human Mess”
Installation
Weaving an illustrative style throughout compositions of salvaged
materials this series of installations presents various tragedies
inspired by true stories, while also providing interesting examples
of creative reuse. Discarded materials are collected from the
streets and become parts of gallery exhibitions, elements from
one installation make their way into the next, and finally, after the exhibitions are finished inside, they continue outside as the
rejuvenated materials are returned to the streets and reinstalled in
new configurations at public sites.
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87
ANDREW SMALDONE, Italy
“The Space in Between 1”
Painting
Architectural interiors are used as a framework in which to explore
the passing of time, while tonal variation strongly evokes processes
of remembering. 18x24cm, ink on paper.
MARK A. SMITH, United States
“Red”
Graphic Design
Through personal memoir blending the innocence of childhood
with the fears of growing up, this artist book incorporates hand lettering with a fragmented sentence “flipbook” structure to
address the chaos and humor that comes with growing up gay in
1980’s America. Within this flip structure, all of the juicy details
(including a Southern Baptist upbringing, media representations
of the AIDS crisis, and “coming out” to my mother at the local
Red Lobster restaurant) are allowed to blur with one another, to
reflect the confusion found within the struggle for self-discovery.
84
89
BRYCE SPEED, United States
“Double Lives”
Painting
This piece emphasizes the importance of sexual suggestion. Along
with my other work, this drawing relies on the drab and prosaic,
repressing any painterly virtuosity. 30” x 44” oil wash, silverpoint
and graphite on paper.
BOB STEVENS, United States
“Friends Are Not Disposable”
Advertising
The objective was to target teens who might have friends who were
spiraling downward under the influence of drugs or alcohol. The
“Friends are not Disposable” headline encourages the audience
not to treat their friends as “disposable” like trash, just because
they have gotten themselves in trouble. It was our intention that
the kids not look homeless, but instead look like they’ve been
dumped there straight from their comfortable upper middle class
suburban homes; a visual contradiction between a “regular” kid in
the middle of a trash heap or junkyard. The props are designed to
show that in their desperation, that they have made an attempt to
create a “home” in a surreal sort of way. It was also our intention
to have them appear reasonably well-dressed to imply that they
are recent arrivals, thus underscoring the timeliness of contact
and reaching out needed by their friends. The talent is portrayed
as a vulnerable and confused as if they had been “disposed of”. I
designed a lighting and post production approach to add a surreal
quality and somber mood to the images with the talent bathed in
a pool of light to create a sort of angelic presence in the less than
pleasant environments.
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91
SASKIA TAKENS-MILNE, United Kingdom
“Untitled”
Video and Film
Through my work I attempt to explode the suspension of disbelief
common to the experience of cinema and, in so doing, explore the
‘reality’ created by and in films. With clear reference to Brecht I
attempt to show that film ‘reality’ is a construction and that the reality, that it reflects/distorts, is also a construction that can be
changed. I am particularly concerned with the representation of
women and the unrealistic and outmoded expectation that women
must excel in their professional field whilst also ‘keeping a good
home’ if they do not want their ‘womanliness’ to be judged.
TIM TAYLOR, United Kingdom
“Office Explorations”
Installation
“Many’s the long night I’ve dreamed of cheese - toasted,
mostly” - Ben Gunn. Exploring aspects of form, scale and
commodity, these works take perceived notions of tropical island life and man’s search for paradise as their
starting point. The work continues an ongoing exploration of the beauty, pathos and humour inherent in
the everyday.
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93
MICHAEL TOLE, United States
“Untitled (Blue Egg)”
Painting
This painting depicts a blue Faberge Egg. This body of work exemplifies the attempt of the American elite to define themselves
via symbols of an all but extinct ruling class. The work also explores
the exotic via reproduction (reproductions of Faberge Eggs, photographic reproduction, video, painting, etc) and the flavor imparted by
the generations of reproduction to the final “art object”.
BRIDGET WALKER, Australia
“One Verse, No Chorus”
Video and Film
A grand loop of looking, creating, and consuming.
90
95
CHRISTIAN WEBER, Germany
“No. 8”
Painting
Acrylic on mdf 100 to 130.
PAOLA ZAMPA, Italy
“Francesa; Greeting from Kabul; Merry Christmas;
Dame al Bagno. Lourdes”
Textile
Embroidery on X-ray, lead, canvas.
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97
Alfonso Artiaco, Alfonso Artiaco
Naples, Italy
Saffet Kaya Bekiroglu, Architect
London, United Kingdom
Marcia Fortes, Director, Galeria Fortes Vilaça
Sao Paulo, Brazil
Xavier Hufkens, Xavier Hufkens
Brussels, Belgium
Sarah Kent, writer and critic
Vera Monro, Galerie Vera Monro
Hamburg, Germany
Knut Ormhaug, Senior Curator, Bergen Art Museum
Bergen, Norway
Stathis Panagoulis and George Vamvakidis, Directors
The Breeder, Athens, Greece
Barbara Polla, Owner and Director of Analix Forever Galerie
Geneva, Switzerland
Rebecca McClelland, Photo Director, Art World Magazine
Ben Tomlinson, Director of Alma Enterprises
Lisa Wells, Art Appraiser and Advisor
Los Angeles, United States
JURY
www.licc.me.uk
ISBN-13- 978-0-9814741-0-6
ISBN-10- 0-9814741-0-1
Published by Asterisk Press™

London International - London Creative Competition

Transcription

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