From October 10-14, 2018, the VIII Tashkent International Biennale of Contemporary Art was held in Tashkent and in Bukhara. The organizer of the event is the Academy of Arts of Uzbekistan, the main sponsor is Uzsharobsanoat Holding JSC. The main theme of the Biennale: “Art and technology. Pros and cons ”- about the place of the artist in the modern global and technocratic world as a unique creative unit with its artistic product. It is symbolic that the VIII Tashkent International Biennale of Contemporary Art with the main theme “Art and Technology. Pros and Cons "was held in 2018, declared in Uzbekistan as the" Year of Support for Active Entrepreneurship, Innovative Ideas and Technologies ".
The purpose of the international forum is to raise the prestige of Uzbekistan in the international artistic arena, to promote interaction and exchange of artistic experience among artists and curators in many countries of the world in the field of contemporary art, to raise the cultural and intellectual level of society and youth, as well as to strengthen cultural ties between nations. Among the participants are contemporary artists and curators from around the world.
More than 160 participants from 27 countries of Europe, Russia, USA and Latin America, Southeast and Central Asia presented their creative works and projects in the exhibition halls and museums of Tashkent and Bukhara: video art, installations, photo art, conceptual painting, sculpture , graphics and other.
“Art and technology. Pros and cons ". S-Id. 41 * 69
Organizer: Academy of Arts of Uzbekistan, Bonum Factum gallery
Partners: Swiss Cooperation Office, Embassy of Switzerland in Uzbekistan and European Cultural Center Russia
October 10-14, 2018
The Academy of Arts of Uzbekistan and the gallery Bonum Factum in partnership with the Swiss Cooperation Office of the Embassy of Switzerland in Uzbekistan and the European Cultural Center Russia in the framework of the VIII Tashkent International Biennale of Contemporary Art - 2018 presented several projects of famous artists.
Maurice BENAYOUN (France)
Artist, theorist and curator, Maurice Benayoun (MoBen, 莫 奔) is a pioneering and prominent figure in the field of New Media Art. MoBen's work freely explores media boundaries; from virtual reality to large-scale public art installations, on a socio-political perspective. Maurice Benayoun's work has been widely awarded (Golden Nica Ars Electronica 1998 ...) and exhibited in major international museums (2 solo shows at Center Pompidou Paris), biennials and festivals in 26 different countries. Some of MoBen's major artworks include The Tunnel under the Atlantic (VR, 1995), World Skin a Photo Safari in the Land of War (VR, 1997), the Mechanics of Emotions (2005-2014), and Cosmopolis (VR, 2005) ... Elaborating on the concept of Critical Fusion applied to art in physical or virtual public space, Maurice Benayoun initiated the Open Sky Project on the ICC Tower Hong Kong media façade.
With The Brain Factory and Value of Values, he is now focusing on the morphogenesis of thought, between neuro-design and crypto currency, brain and money.
With a PhD in Art and Art Sciences, MoBen taught from 1984 new media art practice and theory at Paris 1 Pantheon Sorbonne and Paris 8 University. He was Professor and artist in residence at the French National School of Fine Arts (ENSBA). Since 2012, Maurice Benayoun is full Professor at the School of Creative Media, City University of Hong Kong.
In the meantime, there is no need to know about it. ”
Tobias KLEIN
Tobias Klein works in the fields of Architecture, Art, Design and interactive Media Installation. His work generates a syncretism of contemporary CAD / CAM technologies with site and culturally specific design narratives, intuitive non-linear design processes, and historical cultural references.
Before joining City University Hong Kong in the role as interdisciplinary Assistant Professor in the School of Creative Media and the architectural department, he was employed at the Architectural Association (2008-2014) and the Royal College of Art, (2007-2010), teaching students at the postgraduate level.
The works of his studio are exhibited international with examples being in the collection of the Antwerp Fashion Museum, the London Science Museum, the V&A, the Science Gallery (Melbourne), the container (Tokyo), the Bellevue Arts Museum, Museum of Moscow and Vancouver and in the permanent collection of China's first 3D Print Museum in Shanghai. He lectures and publishes internationally, recently winning SIGGRAPH 2018's Best Art Paper Award for his research on the translation from traditional to digital Craftsmanship.
ABSTRACT SHOTS
Computer Generated pigment prints: 1m x 1m)
Maurice Benayoun, Tobias Klein
2018
The ABSTRACT SHOTS are some of the outcomes of the BRAIN FACTORY that gave the exhibition spectators in Paris, Seoul, Brisbane and Hong Kong the possibility
to become “brain-workers”. Using no hands and no words, they gave a shape to human abstractions. Just by thinking1, the brainworkers control in real time the
evolution of an artificial living organism expected to take the shape of an abstract concept: Freedom, Desire, Consciousness, Power… During the process, the
concepts eventually acquire color and form. From a brainworker to the next, the iterations refine the shape partially inherited from the predecessors. The result
becomes more and more accurate. Far beyond allegories, human abstractions then become apparently undefined forms that reveal the most human way to
understand and explain the world.
ABSTRACT SHOTS are snapshots of numbered iterations of the shaping process. They are portraits of the unspeakable. Initiated in 2016 by the artists Maurice Benayoun and Tobias Klein, The Brain Factory is a multi layers project including interactive installations, reified abstractions becoming physical sculptures, appraisable forms becoming
tokenized values2. Between the immateriality of the sublimated, thought or data, and physicality of reified abstractions, we can now figure out the shape of the
world to come; the shape of our thoughts. Biofeedback music: Jean-Baptist Barrière (for the interactive installation) Engineering: Shaman, Wang Xiao (SCM CityU Hong Kong) This research was supported by grant from the Center for Applied Computing and Interactive Media (ACIM) of School of Creative Media, City University of Hong Kong
In the meantime, there is no need to know about it. ”
In the meantime, there is no need to know about it. ”
4 Emotions 8 Winds
Maurice Benayoun - MoBen
莫 奔
2014
Sound composition by Jean-Baptiste Barrière
4 emotions of the world move and spread around the planet according to 8 real winds data, creating chance arabesques on the world map, forming meandered natural movements similar to the brushstrokes of Chinese calligraphy and ink drawing. Created through the automatic analysis of Internet data representing the emotions of 3200 of the world's largest cities, the work understands the Internet as a de facto 'World Nervous System', or the harbinger of the planet's emotional sensitivities.
The last avatar of the Mechanics of Emotions series of artworks, Emotion Winds expands the running theme of this far-reaching oeuvre, namely the relationship between 'big data' and what MoBen describes as 'the human factor' - that makes something tangibly human. The works in the series utilize techniques from economics to measure human sensitivities or feelings, looking at ways in which conventional forms of the quantification of Big Data can give credence to systems detached from, or playing with, the very tenor of human emotions. In other works in the Mechanics of Emotions series, stock market data has been directly compared to information related to real human affects. In Emotion Winds, these same human emotions are overlaid and combined with graphic representations of natural phenomena such as global wind cycles, and a poetic visualization finally emerges of Internet emotion streams from different cities across the world.
In the meantime, there is no need to know about it. ”
In the meantime, there is no need to know about it. ”
Beat Kuert (Zurich, Switzerland)
Born in Zurich, Beat Kuert lives and works in Arzo.
In 1966 he makes his first experimental films and starts to work as a director for Turnus Film Zurich in 1968. In 1971, after a stay in Latin America, he makes his first documentary. The next year he begins cooperating with the Swiss Television on cultural programs. In 1996 he starts making television documentaries on famous architects, including Jean Nouvel, Mario Botta, Herzog & de Meuron. Acknowledged as one of the most audacious explorers of his generation in Switzerland, in 2005 he creates the group “dust & scratches” which is concerned with video art, performances and music. His experimental works include: “Die Zeit ist böse” (1981), “Pi-errotische Beziehungen” (1982), “Il grande inquisitore” (1991) and “Am Ende der Zeit” (1998); are considered to be his most important works of fiction: “Schilten” (1979), “Martha Dubronski” (1984/85), “Deshima” (1986) and “L'assassina” (1990) starring Margaret Mazzantini, Massimo Popolizio and Elena Sofia Ricci.
Heart-machine
Throughout my career as a filmmaker and multimedia artist I have always been interested in the philosophical question of the meaning of life in general, in pursuing humankind's ongoing need and desire to understand why we exist. A few elements from previous projects are utilized to create the Video Heart-Machine. Heart-Machine references Fritz Lang's film Metropolis. Conceived and built as a three-level city, Metropolis comprises workers' quarters, machine rooms and city planners. Different scenes are filmed with the same cast, presenting the observations of individuals who inhabit this peculiar world. The videos start playing in a synchronous mannerly but over time the imagery shifts more and more. However, from the front the images are transformed into one single image in despite of the fact that the screen is divided, signifying the socio-political structure of Metropolis. My new Project reaffirms the continual relevance of this existential topic in our high-tech globalized world. While the natural world, society and science continue to evolve, however, the human dilemma remains. The contrasting components present my response and interpretation, offering a journey of exploration through the use of biblical, historical and fictional narratives, unlocking our personal perceptions.
In the meantime, there is no need to know about it. ”
In the meantime, there is no need to know about it. ”
In the meantime, there is no need to know about it. ”
In the meantime, there is no need to know about it. ”
K anjo Take (Germany)
1953 Born in Berlin
1971-1973 Studied painting at Escuela de Bellas Artes, Granada, Spain, diploma Sobre Saliente
1973 -1976 Studied at the Hochschule der Künste Berlin, diploma in Visual Communication and Photography
1976 -1987 Art director at international agencies: Tokyo, New York, London, Zürich, Hamburg
Since 1988 Active as freelance photo artist in Hamburg, Shanghai, Tokyo
1994 -1999 Travel and extended stays in India, China, Japan, Russia, Australia.
2002-2004 Picture series (sponsored by Olympus, the first digital camera): BEAUTY AND DANGER, MANGA, FROGMEN, GODS OF PARADISE, MADONNA, AEROS
2005 1st national workshop / competition for creative photography in China.Cooperator with Prof. Xiao Hui Wang, Tongji University, Shanghai
2005 -2010 Picture series: INVISION, FOUND PIECES, EICOLOR, NOWHERE OR 36 VIEWS OF FUJIYAMA. Encounter and intensive collaboration with Manfred Schneckenburger
2011-2012 Trips to China and Korea / also studied shamanic dances
2013-2015 Intensified work with expanded projection, including two participations in the Lichtsicht Biennale in Bad Rothenfelde 2011 + 2013, curated by Manfred Schneckenburger
Accepted into the Kritische Lexikon der Gegenwartskunst: KANJO TAKÉ: “DER HEILIGE BERG UND ANDERE MYTHEN” / Manfred Schneckenburger
2015-2016 Intensified medial painting First contacts with the art scene in Taipei, Taiwan and sharing with artists
2017-2018 Expanded form of projection for Lichtsicht 6 / Bad Rothefelde (400-meter graduation wall) Salzburg (Kollegienkirche), Rostock / merchant ship (for the 800th anniversary)
2018 Expanded form of projection for Architettura / La Biennale di Venezia 2018 for visual art “BEYOND SHOJI” in Palazzo Bembo Lives and works in Düsseldorf, Shanghai and Tokyo.
"Beyond Shoji" video installation.
The German-Japanese artist Kanjo Také doesn't narrate continuously: he creates collages. His video projections live from cuts and jumps. They activate associations and they demand our own visual thoughtfulness and imagination.
His video begins with a traditional Japanese room furnished with sliding screens (shoji). A geisha plays a gentle melody on her koto, a stringed musical instrument. Its sound enwraps the projection in the unreal atmosphere of a dream. Soon a nôh theater mask appears, followed by the dancing and singing of a nôh opera. Také places importance on presenting the subsequent scenes not with a veneer of realism, but in the light of a vision between dream and nightmare, as fearfulness vis-à-vis the arrogance of a possible future world. The prelude stands for an antithesis, as will the swinging man later. From the construction of the Tower of Babel to the erection of what is presently the world's tallest building (the 828-meter-tall Burj Khalifa in Dubai), the mountain chain of manmade superlative summits pierces the sky's dramatically roiling clouds like an oversized picket fence ...
The ambitions of those who seek to conquer the skies change to hubris; gigantomania, ie the craze for the huge and spectacular, is closely associated with equally spectacular collapse.
The Babylonian archetype runs through the imagery as a leitmotif. Does “ever higher” also mean armed to the teeth, progressively more militant and more aggressive?
What motivates this? X-ray images and tomographies depict the outlines: insatiably grinding jaws (naked greed); a human brain (with implanted silicon chips?); two androids programmed to feel permanently happy (brainwashing!); a regressive, split, “ape's skull” (conflict with oneself). Moreover: a booster rocket lifts a satellite into orbit - for new businesses of observing (not only) the enemy.
Bombs destroy Aleppo; refugees rush from the crumbling city; troops of shovel-bearing men arrive and depart along the margins.
Construction has already resumed somewhere else, but a low-flying fighter jet threatens the precarious peace into which the dancing people return.
Will the natural catastrophe of a volcanic eruption put an end to the mad struggle to outdo one another?
Manfred Schneckenburger, Cologne, April 2018 (Two-time director of documenta)
In the meantime, there is no need to know about it. ”
Igor Josifov (Skopje, Macedonia)
AWARDS
2015: Young Artist of the Year - Osten's Artists of the Year, Skopje, Macedonia
2015: Apollonia Award -OstenBiennial of Awarded Artists, Skopje, Macedonia
2015: Golden Osten Award -OstenBiennial of Awarded Artists, Skopje, Macedonia
2014: First Award for Original Work on Paper - OSTEN BIENNIAL OF DRAWING, Skopje, Macedonia
2011: 1st Prize | IXth Biennale for Young Artists - NI Museum of Contemporary Art, Skopje, Macedonia
2005: Full Tuition Portfolio Grant | Academy of Art University Portfolio Grant Program, San Francisco, CA
2003: 1st Prize, International Art Exhibition, 13 Noemvri, Skopje, Macedonia
2000: Award for Single Creation “Vision of the future” at the 14th International Exhibition The Small Montmartre of Bitola, Bitola, Macedonia
1ST Prize for Successful Creation, State Art Exhibition, Cultural Center, 'Ilindenski Denovi' Bitola, Macedonia
1999-2003: Scholarship from the Macedonian Ministry of Culture for the School for Applied Arts 'Lazar Licenoski', Skopje, Macedonia
1998: Special Diploma for “Society seen through the eyes of children" at The International Museum of Children's Art, Oslo, Norway - In cooperation with the Norwegian Ministry of Education and the Norwegian Council for Cultural Affairs.
1995: Best Exhibition Award, City of Skopje International Art Exhibition, 13 Noemvri, Skopje, Macedonia RESIDENCIES
2015: Golden Osten | Biennial of Awarded Artists, Gevgelija, Macedonia
2015: InSpace Curatorial | Artist in Residence, San Francisco, CA
2015: Spring of 2015 Wit-ess SFIAF Performance, San Francisco, CA
2015: Winter 2015 Wit-ess Film Production, Miles City, MT
2014: Igor Josifov, Yellowstone Art Museum, Billings, USA
2013: Re-collecting Memories, The Performance Art Institute, San Francisco, USA
2008: Reflection On Originality, The Watermill Center, New York, USA Manumission, performance, The Watermill Center, New York, USA
Emit, performance, The Watermill Center, New York, USA Flooded, performance, The Watermill Center, New York, USA Art Copy Copy Art, lecture and exhibition, The Watermill Center, New York, USA
BIBLIOGRAPHY
2015: Wit-ness Booklet, text by Hanna Regev, LatifaMedjdoub, Andrew Wood, Igor Josifov, Published by
Al'myra Communications San Francisco, CA
2014: Taming Fire, essay by Hanna Regev, published by Al'Myra Communications
2012: Igor Josifov - Selected Works 2007-2012, NI Museum of Contemporary Art Skopje, Published by Lazov
Group
2011: Al Ghaib - Aesthetics of disappearance, Gaia Serena Simionati, Published by Silvana Editoriale,
2010: Igor Josifov, published by Galerie EGP, 2010 Paris, France The Artist is Present | Marina Abramovic, essays by Klaus Biesenbach, Arthur C. Danto, Chrissie Iles, Nancy Spector, and Jovana Stokic. Published by Museum of Modern Art, NYC
2009: Manumission, text by Igor Josifov, dedicated to Marina Abramović, published by Toomey Tourell, June,
San francisc
Performance “Fire-Within”
' Becoming Clear | Crushing Glass' Installation
In the meantime, there is no need to know about it. ”
In the meantime, there is no need to know about it. ”
J oaquín Gómez (Argentina)
Music composer, Music Producer
Musical compositions:
2011: Aqüa - String quaertet, piano, erhu and soprano inspiraded on the
mutation of water throuwh its different estates.
2010: Rusalka- Piano Sonata in 3 movements.
2012: Microcosmos - Audiovisual piece for piano violin & amp; cello.
2013: Colihue - Piece for 3 traverse flutes e digital intervention inspired on Lago Queñi, Patagonia, Argentina.
2017: ONA - Audiovisual Micro Opera based on the creation of the universe according to the Tehuelche native trive from Patagonia,
Argentina.
Highlight work:
2016_ 360 audio recording at Teatro Colon, Buenos Aires Argentina for the Estable Orchestra conducted by Arturo Diemecke.
2016: Soundtrack for audiovisual installation Figueras Polo Stables at Palazzo Mora, Venice, Italy.
2016: Soudntrack for argentinian famous tv serie Historia De Un Clan –Underground.
2016: Soundtrack film composer for Ruin & amp; Rose, 2016 Matchstick production's movie (msp)
2017: Film score & amp; sound design for The time Within directed by Ben sturgulewski, which was selected finalist at the Banff Mountain Films Festival
2017, where I had the pleassure to make the introduction for the film.
2017: Ona - Audiovisual installation at Palazzo Mora, Italy 2017. A 7 minute audiovisual piece based on the creation of the universe according to the Tehuelche indigenous tribe from Patagonia, Argentina.
2010: Soundtrack for Messi Foundation Audiobook.
Soundtrack for Mermaid, Disney 2011
Soundtrack ESPN Mundial 2014, winner of best audiovisual piece Ciclope Festival 2015.
Soundtrack for Netflix- Worst Gifter winner of Ciclope Festival 2015 & amp; El Ojo de Iberoamerica - Golden awward.
Soundtrack for Mercedes Benz 2017 in collaboration with Matchstick productions - (MSP)
Working Experience:
Nine years working as music composer and sound designer for tv, film, animation, videogames, trailers, mapping, installations, virtual reallity and music productions wth international diffusion (USA, Canada, Latin America, Nigeria, India, London, Italy,). In 2015 I created Ona Sounds, film scoring and sound design company for film, tv, animation, mapping, installations, videogames, trailers with more than 200 international works.
Clients: Disney, Coca Cola, YPF VVV, McDonalds, YouTube, Fundación Messi Blumberg Grain, National Geographic Chango Más, Gizmo Sabritas, Cartoon Network AARP, Sony Indicius, Tenaris Virgin, Caixa Poker Stars.
In the meantime, there is no need to know about it. ”
Mountains
A journey through time and space Installation
Te chnology allows us to make an eternal print of a moment, of a message, of a particular history. For example an ancient song passed on by generations through oral transmission, can now be recorded and send it all over the world, in order to spread the message among various cultures and generations. In the future these recording will be of great value, like a capsule of time
where they will receive the exact same message from the past and re interpret it in their own way. Some artists might even took this material and re-work it with future art, technologies and continue
the creative chain through time. The challenge of this project will be performing the live mixing and recording in the mountains given the changing nature of the mountains where wind, snow or
rain will affect the recording creating a texture in sound quality that could only be achieved in this extreme environment.
In the meantime, there is no need to know about it. ”
Han Ho (South Korea)
AWARD
Venice Biennale Sponsor by Korea Art Foundation, Chung Nam, Chung Buk, Gender Equality Korea,
Salon de Mongruge, International Art Paper Biennale Sponsor by Korea Foundation, Selected Soma Museum Artist 7 Membership 2012
COLLECTION
The Rockefeller Foundation, St. Peter's Hospital Korea, Gwangju Museum of Art Foundation of Jeung Hun Paris, Le Toit de grand Arche La Defense Paris, Foundation of Hyundai, Foundation of Yonsei University, Foundation of Art FORCE Beijing, Foundation, AHL Foundation NY.
In the meantime, there is no need to know about it. ”
The shadow of light
light and shadow
If there is light, there is a shadow. Shadow represents the existence of light and exist simultaneously like harmony of yin and yang. In order to communicate with the light, we must communicate with the shadow, and in the shadow we make various imaginations. Light and shadow are the concept of the picture that the light draws, and it tells the story through the shadow that comes out from the light. And the spectator talks to the light
through the shadow. The shadows shown are the images adopted by the paintings of Gogh, and they employ silhouettes that emerge from Gogh paintings. He gives a story to the painting of Van Gogh, communicates with the viewer, and understands Van Gogh's tears. Interactive production. When the spectator enters the "shadow of light" space, the sensor recognizes and creates a light source around the spectator. The illuminated light shapes the silhouette of the spectator, while virtual shadows flock around the spectator. The virtual shadows that come in are made of virtual materials that have a natural form but are not a general form but a modified natural form and provide imagination to spectators.
In the meantime, there is no need to know about it. ”
KIM WAN (KIM JUNGWAN) (South Korea)
Achievements in the field of art:
A prize at the Cho Heon art Award. Pohang Museum, Korea
Solo Exhibitions
2018 "Edge" Gallery Palzo. Cheongdo, Korea
2017 “One spring day” Gallery Palzo, Cheongdo, Korea
2015 "Light & darkness" E-land space, Seoul, Korea
2013 "zenscape" ablefineart ny gallery, manhatten, New york
2012 "LIGHTSCAPE" ablefineart ny gallery, Seoul, Korea
2010 "TOUCH THE COLOR" Gallery Cube c, Daegu, Korea
2009 "TOUCH THE LIGHT" Kwanhoon gallery, Seoul, Korea
2007 "GAP" Daegu cultural center, Daegu, Korea
2006 "SEARCHING THE UNIVERSE" Posco gallery, Pohang, Korea
Selected Exhibitions & Art fairs
2017 The 57th Venice Biennale "Personal Structures-Open Boards" (Palazzo Mora, Venice, Italy) (In the context of the Venice Art Biennale 2017, the GAA Foundation presents the exhibition "PERSONAL STRUCTURES - open boards. The exhibition is hosted and supported by the European Cultural Center in two of its prestigious Palazzos in the center of Venice-Palazzo Bembo and Palazzo Mora-and the Giardini Marinaressa.)
2016 "art lab" Department Store Sinsaegae, Seoul, Korea, Singapore contemporary art show. Suntec convention center, Singapore Art Busan, Bexco, Busan, Korea
Daegu Art fair. Exco, Daegu, Korea. Besides, selected group exhibition and art fair a many times. (Korea, Japan, China, Singapore, Hong Kong, New York, Italy)
In the meantime, there is no need to know about it. ”
EDGE - BLUES
Edge depicts light and color from a whole new perspective — a mixture of faces in light and shade, portrayed by two faces with a jutted border in between, extends a conventional two-dimensional canvas to a three-dimensional space. Boundaries of light and color hardly exist in Edge; nihilating the distinctions of color and space, it brings up a philosophical question on a sense of true existence. We can touch a 'borderless' border of light and color where a line between reality and imagination fades away.
The collection uniquely displays several Blue-colored works of the series Edge just like variations of music. Feelings of sorrow, melancholy, and longing, underlying both a color Blue and the Blues music, together paint the entire collection. As the Blues transcends agonies of life beyond nihilism, Edge blesses hope, delight, and gratefulness of an existence — life — with a blend of light and space coated in Blue.
In the meantime, there is no need to know about it. ”
Simhyang (KIM Sunhwa) (South Korea)
Achievements in the field of art:
A prize at the Grand Art Exhibition of Korea. Besides, many of the nation's art contests in specially selected, a prize. 2017 The 57th Venice Biennale "Personal Structures-Open Boards" (Palazzo Mora, Venice, Italy)
(In the context of the Venice Art Biennale 2017, the GAA Foundation presents the exhibition "PERSONAL STRUCTURES - open boards. The exhibition is hosted and supported by the European Cultural Center in two of its prestigious Palazzos in the center of Venice-Palazzo Bembo and Palazzo Mora-and the Giardini Marinaressa.)
2016 RED DOTS V "Independent" TAGBOT ART FES (Hulic Asakusabashi, Tokyo, Japan) 2016 Solo exhibition "Starfield" (organized by Suseong Artpia and Gallery Plazo, Suseong Artpia, Daegu, Korea) Besides, selected solo and group exhibition a many times ... (Korea, Japan, China, Singapore, Italy)
Starfield series
Simhyang's “Starfield series” has lots of similar figure are connected freely and irregular. These shapes are representational and abstract at the same time, it shows the unique creativity of Simhyang with harmony of innocence reveals and pure shows creative expressions as revealing combination of beauty of shape. Also, the use of materials as thread is to feel freshness and creativity.
“Starfield” is expressed as the value of all beings as a star.
Each from a lot of other beings appear connected with each other. And then, this image make us to think and give us warm and friendly feeling. Specially, the hidden is important element in her art works. This obscured the importance of the presence of light that is invisible as well, it is positive about the appearance of their own as they will to overcome their self-repect.
Simhyang was up to us to expose shaped by her own inner pain and conflicts, to reflect on her own life to find the authenticity of the art. Simhyang also we respect and care for each other and she hope, there we communicate better.
In the meantime, there is no need to know about it. ”
In the meantime, there is no need to know about it. ”
Inmo Hwang (South Korea)
Achievements in the field of art:
2006 Filled in coordinator of Daegu Photo Biennale, Korea
2008 Awarded Young Photographer Prize, Korea
2009 Awarded Gangwon Documentary Photography Prize, Korea
2009 Selected for Culture and Arts Promotion and supported by Daegu as a Young Artist, Korea
2010 Awarded "The Young Artist of the Year" Prize- Daegu Culture & Arts Center, Korea
In the meantime, there is no need to know about it. ”
White Records
In photos, strong lights turn up as white color, such as sun, indoor or outdoor lightings and reflection of wave ect. Therefor in my personal opinion, white color is the extreme beauty. I feel overwhelmed when surrounding by white spaces or standing in front of white backgrounds not because of the space but because of the power of 'WHITE'.
When I look at some white objects, cannot leave because I am stunned. While continuing to look white color or being in white room, I find myself to start having weird and strange idea and feelings. What I'm actually looking at is not white anymore. The perfect white is never holding my eyes as I start to search for something like small scratch and mark on it. When I observe them I start to care about them and cannot move my eye. I think white space or whatever marks on white space which holds my eyes are the essence of the beauty.
In the meantime, there is no need to know about it. ”
Nikita Sho khov (Rossia)
MAIN ART PROJECTS:
2015-2016 “ICE” video installation
2013-2016 “Scan” digital photography and installation
2010-2015 “Moscow Nightlife” stage and documentary photography
2013-2014 “Utrish-Crimea” stage photography
2011-2014 “Sacred Procession” documentary photography and installation
AWARDS:
2015 Silver Camera, "Kids"
2014 World Press Photo, “Utrish”
In the meantime, there is no need to know about it. ”
Scan
The series lies at the intersection of digital photography, physics, carnival traditions, and documentary. The scanner captures 40 seconds of immediate reality in a single frame. The final image may remind one of a 'distorted mirror'. Interestingly, there is now a smartphone app that imitates the slit scanning effect of distorting mirrors at carnival attractions. The images created may resemble strokes of paint above a regular photograph or collage. The compression effect of the scanner reveals the physics of space-time. Contemporary physical mathematics allows the possibility that the past, present, and future are one. Yet, humans operate in the 3-dimensional world; they perceive time through the slit of their short lives and cannot comprehend time as one. Slit scanning becomes a metaphor for human perception. The camera captures reality through the narrow sensor of the scanner, which is the “slit” gradually scanning the whole frame in a
given time. Carnival culture attracts the artists especially with its phenomenon of mass processions. Carnivals in ancient and medieval times had an ambivalent nature. Along with celebrating the body, once a year religious restrictions were waived, and authorities could be uncrowned for the duration of the carnival. For example, a jester could be under the mask of a king and vice a verse. However, today, a US president would not be under a mask - and laws are not waived. The scanner destroys the visual side of the carnival, which has lost its original essence since the Enlightenment.
In the meantime, there is no need to know about it. ”
ANTONIO MORA
Spain, 1957
Didn't go to college in psychology and Philologie and finally completed a Masters degree in graphic design.
Some years later he founded his own design studio where he worked as an art director for 25 years. Then after health troubles he decided to devote himself to explore the more creative side of their work and deepen inside looking for a technique that would allow him to express his emotions. Finally found it.
By some photoshop tools that allow him to blur the boundaries between two overlapping images, gets mixed faces with landscapes, trees and lakes, bays and oceans with subtly until both images to make them a different being.
His creations, recorded in the digital collage, are halfway between dream and reality. Create hybrid beings, inhabitants of a parallel universe. Antonio Mora acts as a medium between these two worlds capturing highly expressive images that evoke in the viewer a strong sense of mystery.
The artist say: “My originality takes root in the merger, in finding combinations that leave in the palate of our conscience flavors of evocation and mystery. Images that open a crack in our collective memory allowing us to watch, though only it is an instant the hybrid beings who populate our deepest dreams. ”
In early 2013 he began to develop his pictures. It was a prolific year in which he was settling his technique and sharpening your intuition producing a wide collection of works in which the dream is interwoven with reality by means of hybrid beings, mythological dyes and endowed with hypnotic beauty.
Parallel to this develop a technique that allows you to print large format your creations and send them anywhere in the world.
Through social networks the impact of images of antonio has been meteoric.
Maybe because his look is a look perceived by all cultures because it transcends all barriers and enters the most intimate of human soul.
Currently still in Spain and working on their creations
Tatyana Fadeeva (Uzbekistan)
From 2004 to the present, Senior Lecturer at the National Institute of Arts and Design. Kamoliddin Behzod in Tashkent, at the department of theatrical - decorative painting. Scenographer of more than 25 performances, art director of 2 animated films.
Permanent participant of republican exhibitions.
Member of the creative association of artists of Uzbekistan.
“Like moonlight dissolves in the Infinity
So my Beauty lives in Suzanne Devoting colors to Eternity "
In the meantime, there is no need to know about it. ”
Gustavo Sagorsky (Israel)
Since 1998 lives and works in Jerusalem
Since 2008 teaches at the Photography Department, Bezalel Academy of Arts.
SOLO EXHIBITIONS
2018 “Apparitions”, Bezalel Photography Department Gallery, Jerusalem.
2017 “Study of a Longtime Relationship through Photography”, Liepajas Museum of art, Latvia
2016 "Pain and Play", solo exhibition, Hadassa Gallery, Jerusalem
2016 "Any Possible Place" collaboration project, Municipality Gallery, Rehovot, Israel
RESIDENCIES & WORKSHOPS
2011-2016 Jerusalem Artist Workshop
2015 "Faces of Disappearance", H2, Centrum of Contemporary Art, Augsburg, Germany “Guide to Local Birds”, The Gail Rubin Wildlife Art Gallery, Jerusalem “Sagorsky, Kotler, Orr", Indie Photography Gallery, Tel Aviv
2014 “Cover”, Koresh 14 Gallery, Jerusalem “Olive Tree”, Umm el Fahem Gallery, Umm el Fahem “Apparitions”, The Unseen Dummy Award, Amsterdam (shortlisted)
2013 “Apparitions”, The Dummy Fotobook Festival, Kassel (shortlisted) “Mytographies”, Yaffo 23 Gallery, Jerusalem “Drawing Biennale”, Artist House, Jerusalem “Back to the beginning”, Comporary by Gloconda Gallery, Tel Aviv “Fresh Paint 6 ”, New Logistic Center, Tel Aviv
2012 “Three Birds on The Basement”, Hanina Gallery, Tel Aviv-Jaffa “Sonia”, Plan 10, Buenos Aires “Closing Party”, The Heder Contemporary Art Gallery, Tel Aviv
2011 “Salon Mutante”, Espacio Rara Avis, Buenos Aires “Wind Stones”, Daniel Gallery, Tel Aviv “Road to Nowhere”, Ashdod Art Museum, Ashdod
2010 “Small Adults”, Shay Arye Gallery, Tel Aviv
2009 “Extras and Leftovers”, The Social Gallery, Musrara School of Art, Jerusalem
2008 "Immigrants", Dwek Gallery, Jerusalem
2007 “40 Years of Documentary Photography in Jerusalem”, The Social Gallery, Musrara “The MFA Graduation Show”, Bezalel Academy of Art & Design, Tel Aviv
2006 "Plant Distribution" in "Hearat Shulaym 10", Bloomfield Science Museum, Jerusalem “Plan 9”, V Galerie Fotografic, Prague
2015 Apexart Fellowship Program, New York Asylum Arts Residency, Ein Harod
GRANTS & AWARDS
2016 Recipient Minister of Culture encourage award to stablished artist
PUBLICATION
2015 Apparition, Skinerboox, Verona, Italy
2012 Carritos, Janus et Cie, Santa Barbara, California
2007 Ecole National de Beaux Arts, Paris
2007 Encouraging Creativity Award, Bezalel Academy of Art and Design, MFA
America-Israel Cultural Foundation's scholarship
2006 Encouraging Creativity Award, Bezalel Academy of Art and Design, MFA
America-Israel Cultural Foundation's scholarship
In the meantime, there is no need to know about it. ”
Friends
Gustavo Sagorsky presents at the Tashkent International Biennale of Contemporary Art a photography projection exhibition which includes a series of images of young
Uzbekistan couples in public spaces. The pictures were taken in 2014 on the occasion of the artist's participation in a previous Biennale in Tashkent. In the these pictures, a romantic environment can be observed by the viewer, a glimpse of innocence is perceived on those walks at the park. Personal contact between the people photographed where almost no digital disturbance can be detected.
There is no violence, no signs of judgment or critique, everything in the pictures is involved in a quiet atmosphere of acceptance.
In the meantime, there is no need to know about it. ”
