Exhibition 23 November – 9 December
196-30, Samdo-ro, Yangchon-eup
Gimpo-si, Gyeonggi-do, Korea
Exhibition 23 November – 9 December
196-30, Samdo-ro, Yangchon-eup
Gimpo-si, Gyeonggi-do, Korea
The 1st Biennale Larnaca will take place from
the 17th of October until the 30th of November 2018 .
Mooring_and_Grounding_point a large 2 x 2 meter paintings will travel to Cyprus this autumn.
Biennale Larnaca 2018 concept : Container and Content.
The theme for the Biennale is “Container-Content”. I am very intrigued by the dynamics between these two roles, particularly their capacity to coexist in a dependence relation and at the same time alternate within an eternal vicious circle. It is a situation that pertains directly to the problem of defining space, and is therefore relevant at a time when spatial boundaries are being called into question as never before. At first thought, the content is always dependent on the container, without which it would be virtually impossible for it to exist. Still, very soon one realizes that as the content needs the container, so too the container needs the content just as much: without it, it would be empty, therefore useless. The apparently one-way relation becomes reciprocal. Man himself is a vessel replete with imagination, thoughts, memories, connotations and feelings. Without the “human” vessel, none of these would have been able to exist. And yet, a man deprived of the properties that make up his content would by extension be an empty man; so much so, that the characterization “human” would be called into question. Which one is worse? To not exist or to have no reason to exist? This is the tormenting and as yet unanswered question of a reciprocal relation that reads the same backwards as forwards like a palindrome. But the paradox does not end here. By changing the spatial scale, container and content alternate roles. The drinking glass considers itself a container for water but it forgets that at the same time it too is the content of a larger container, namely the room. Water considers itself merely the content of the glass whilst ignoring that on a smaller scale it too is a container for all the elements and ingredients included in its chemical composition. In other words, as space grows bigger, new and larger vessels are being created; and the deeper we immerse ourselves into the microcosm of space the more contents we discover. An apt analogy would be the Matryoshka, the Russian nesting doll, where each separate doll serves as content for the larger and as container for the smaller one. Man’s defining phases, Birth, Eros and Death, go through this specific binary. Childbirth corresponds to a container-content relation, just like the subsequent relation between mother and child. Death, especially burial, behaves in exactly the same way. There is no burial ritual across any civilization through time that escapes the container-content relation. Body and soul; the casket; and, eventually, the tragic cavity of the grave. Between them, Eros. Two individuals holding each other in embrace alternate between the roles of container and content. So what is the world’s driving force other than one’s need to constantly become filled with the other? There’s a poem by M. Ganas from the collection “The small ones” that keeps coming back to my mind – perhaps because I haven’t been able to find a more succinct and beautiful way to describe the amorous relation between container and content:
You are sleepless sea on the globe of my palm. You breathe and fill me up.
Translated from the Greek by Despina Pirketti
When I was seventeen, I was given a big cardboard box with unexposed photo rolls. Thirty glossy little boxes, yellow, gold and black, emanating a distinctive dull sour smell of vinegar. Thirty-five millimeter, black and white acetate film, the sell by date just expired. These photographic rolls of film had a purpose, a key element of a master plan.
Black mushroom clouds soar gently upwards, dispersing tufts of dark cloud. I am looking at black ink spreading in water.
The setup of micro experiment is simple, you need a jug of cold water and ink. Gently release a drop of cool black ink under the surface of the water with a pipette and watch how the ink unfolds in gentle swirls towards the bottom of the glass. It is like a plume of smoke floating through the air.
Later on, in my experimentation, when I had improvised a little photo studio with a desk lamp, I found a method of getting the ink to settle at the bottom of the glass and I would warm a small area of the glass with a lighter. The ink heated, and suddenly in what looked like a micro nuclear explosion the black liquid would billow out in a magnificent big swirling mushroom cloud. Through the lens of a reflex camera, I observed how the inky clouds slowly climbed up and stretched out in magical forms and shapes. For about two weeks, each day after school, I set up my modest laboratory photo studio and caught those spectacular mushrooms and dramatic swirling eddies on the photo film.
An experienced photographer would have told me that the dull smell of vinegar was a sign of acetate film base degradation, and that the film had more than passed its use by date. Till this day I am fascinated by the majestic movement of the flow of fluids. And I am inspired by the motion of steam being expelled from vents in large puffs or by the clouds appearing and receding over the skyline. Videos, computer simulations, drawing, graphics, photography, 3D models and paintings are ways for me to observe the impressive world of the flow of fluids.
It is a strange feeling to get the login codes from someone’s instagram account and post messages as an online-artist-in-residence. Normally, the artist in residence travels to a destination with a bag, but I stayed at home. That is how it was with the SchetsupResidency. I posted my sketches twice a day and every now and again, my telephone would beep with a message for the curators Sid and Jim. But stranger than the feeling of being at home with a stranger’s account was that this online-residency felt like a real residency. I focused on my art, posting twice a day, I put myself through extra challenges, and got out of the house to photograph industrial sites, I got direct feedback (likes) and I landed up with a body of work that will give me enough material to make some new choices.
On the website gu.pe.hu I put my artworks together, so have a look at the results of the residency. You will find my collection of images in the form of a scrapbook bound with lines and shapes and presented in a SVG format on a one-paged-website.
On Monday evening I started my SketchUp residency with two images that I uploaded onto the sketchupresidency Instagram.
The SketchUp Residency is a project created and curated by artists Sid and Jim. The participating artist (me) is asked to use 3D modelling software ‘SketchUp’ for the duration of their term of one month.
My research during the residency is going to be geared towards smoke being expelled into the air from vents or chimneys and sketching and buidling up 3D low polygon models. I’ll be posting my material right onto the https://www.instagram.com/sketchupresidency/ so make sure you keep up to date.
And just in case you are wondering…. is this an online residency operated from the comfort of my own living room? Yes and I also go around looking for smoke and vapours being expelled from vents.
It is dark outside the room and I use all my energy to come out of a deep sleep. A small cup of coffee waits for me on the table and I’m sitting on the couch forcing my mind to stay in focus. A school teacher comes to me and says “it’s all lost”. She no longer had control over the class.
That was a dream. An hour ago I was on Gyeongpo beach, South Korea that is for real.
Gyeongpo beach, it is the farthest east I have ever been. I stood on a cold sunlit beach covered in a layer of thin snow. The East sea waves crashed on the sand. At home in The Hague, we would stand on the beach and imagine our homemade kites flying east to Felixstowe. Here they would fly straight Niagara, Japan.
At the preparations for the Pyeongchang Biennale 2017, my three paintings are up on display (I did it, job done) and I had time to loiter around and talk to the other artists. I spoke with Kiyoko SAKATA, Japan and Ori ELISAR, Israel and we talked about sea salt crystals through an electronic translator and a pencil and paper. Early in the morning, I met up with Micah GENSKE, USA and talked about his painting depicting large shadows on areal views. With Justyna ADAMCZYK , Poland, we talked about the status and social position of the artist in Poland. I talked to CHUANG Chih-Wei, Taiwan about my work and showed him the embroidered threads on the back of the painting. With CHEN Sai Hua Kuan, Singapore, we talked about the making of physical objects. Several times that day I went to have a look at Junya KATAOKA & Rie IWATAKE, Japan, as they set up their installation.
They show me the inside details of their work. Also Nils VOLKER, Germany takes me behind the scene of his kinetic artwork. With Thibault LAGET-RO, France, I talked about the fate of children in the French education system and with JAK, Korea / Germany, about the artists and studio spaces in Germany.
In the evening I walked through the exhibition with the artistic director Seong-Youn Kim. It is a fantastic collection of works. He tells me he chose for the open call and that during the selection procedure he asked to omit the CVs of the artists, but wanted to judge on the images and artist’s statements alone. I gather that he made some people nervous, but they agreed that the results are outstanding. The exhibition is called The Five Moons : Return of the Nameless and Unknown.
A year ahead of the highly anticipated PyeongChang Winter Olympics next year, the PyeongChang Biennale and Gangneung Folk Art Festival 2017 are ready to heat up Olympic venues with cultural enrichment.
By Kwon Mee-yoo koreatimes.co.kr
At the end of November 2016 I attended the Symposium/Artist Residency Dysfunctionalities of Contemporary Art 2, organized by the Cyprus Chamber of Fine Arts (E.KA.TE.).
During the Symposium/Artist Residency I wanted to examine the input and the results that artists get when they show their artwork to the public -art-fairs, internet or a closed circle of friends. Is it worth the time and money?
In the video, you can follow the workshop of the Art decision tree and see how you can visualize your choices and the results through a model by giving values to [money/time], [status], [social capital] and [our inspiration] input and expected results.
The idea came about by following these two Massive Open Online Courses.
As a result, I have concluded that I show my artwork to expand on my curiosity and inspiration and I see the importance of using [status] and [social capital]. By making use of the art decision tree tool I also noticed that other artists could make a quicker analysis of their own situation.
The Symposium/Artist Residency Dysfunctionalities of Contemporary Art 2, was organized by the Cyprus Chamber of Fine Arts (E.KA.TE.) and took place at the 30th of November until 4th of December 2016, with the support of Cultural Services of Cyprus Ministry of Education and Culture, the Department of Fine Arts of the Cyprus University of Technology (CUT) and the International Association of Arts (IAA).
Nowadays you can DIY your own polygon art online. Google for ‘low polygon art generator’ and let the web turn any digital image into a techy triangulated image, select from 100 palettes or brew up some of your own colours, tweak the triangulation and before you know it you are ordering an online poster print of your very own polygon art.
I feel that I am a bit of an expert on the subject having 5 years experience making paintings of low polygon object. On my onepage website http://k-van.nl/ you can see my artistic development. (For full enjoyment of the site use a smartphone or a tablet so that you can swipe or pinch at the screen.)
Only recently have I gone for the large canvases 200 x 200 cm (almost 80 inches) stretched on aluminum frames. With a larger canvas size I have also changed my painting approach. Now it is out of the box, out of the lines.
[Future projection 2024 ] Sarah walks out of the FAB-lab, she has just had an prosthetic replacement hip printed on a 3d printer. It is her own design and her final assignment for the Institute for prosthesis and orthesen. The Fab lab is situated in 34 countries and the small workshops provide a high-tech computerised tools ‘to make just about anything’. For Sarah the concept of the Fab-lab is not new. 10 years earlier in primary school her brothers introduced her to the local open art studio. Volunteers helped small groups of kids materialize their own creations. The basic tools where provided for; paper, pencils, scissors, glue, clay, saws, hammers, screwdrivers, sandpaper and varnish. The volunteers instructed the children how to use the tools safely and correctly, and would coach/guide them in their project.
‘My brothers would conjure up all sorts of invention,’ Sarah recalls, ‘some times we would sit up all night watching YouTube clips on how to make plastic rockets. As long as you had an idea and a drive the volunteers could guide you along. Of coarse we did all the work our self. Sometimes we would have a retired carpenter, a local artist or I remember a banker that was an expert on model making. At home we did not have the art supplies, the space nor the tools, but at the open studio we materialized our fantasy. In fact we made all our own toys.’
The Open Studio for children provides an environment where children can work on their creative(art) talents.
or the problem: [Develop a system and/or place where children can evolve their creative(art) talents]
There are 3 main reasons having a Open Studio for children.
· Encourage the creative driving force by helping the creator to create.
· 10.000 hours (Malcom Gladwell decribles in Outliers http://gladwell.com/outliers/ how talent surfaces with hours of practice).
· Participation of the children and adults.
Clients: Children, volunteers and sponsors.
Time and Money: the pilot project for the duration of 3months can be run on current resources. After an evaluation we will need to look for sponsors to finance the coordination of the project.
Expertise: from the coordination and volunteers.