All selected artists are represented by STUDIOTOPIA founding partners. Before you apply for our residency, take the time and get familiar with artists profiles, their ideas and previous projects. During the application process you will have to indicate your preference for up to three the artists. You can only apply once.
Artists exploring Sustainable Development Goals
Challenging traditional paradigms through Art
Also visit : www.kukuangyi.com
Kuang-Yi Ku was born and raised in Taipei, Taiwan, and has been based in the Netherlands since 2016. He graduated with triple master degrees in social design from Design Academy Eindhoven; in dentistry from National Yang-Ming University; and in Communication Design from Shih Chien University.
Formerly a dentist, Ku is a bio-artist and social designer. He founded TW BioArt (a Taiwan bioart community) to stimulate the fields of BioArt and Science + Art in Taiwan. His works often deal with the human body, sexuality, interspecies interactions, and medical technology, and aim to investigate the relationships among technology, individuals, and the environment.
#bioart #food #installation
What is still unknown to Science
Also visit : www.siobhanmcdonald.com
Siobhán McDonald is an artist in residence in the School of Natural Sciences at Trinity College Dublin (2017-2019) working with world-leading research facilities such as The European Space Agency (ESA); The JRC European Commission and The European Research Council to explore ecology in light of current ecological concerns. Across these research labs, she pursues knowledge to ask questions about the structure and history of the earth. Her art practice calls on notions of what is still unknown to science, exploring the Anthropocene and the recent consequences of our treatment of nature. She is interested in the changeable nature of landmass, historical events and their interconnection to time. In her studio, she works with a diverse group including historians and scientists. Her works manifest in many forms including painting, drawing, film and sound.
On my recent research trips to Iceland and the Arctic Circle, I observed the catastrophic effects of the rise in carbon dioxide on the glaciers. This visit reactivated questions about the place of man in nature and about the role of art in a time of geological crisis. I am using the concept of the Anthropocene as a powerful lens for looking at the relationships between people and the environment. As the glaciers melt, in many cases bogs land and soil is now thawing out to reveal past worlds and hidden secrets such as pleistocene fossils, massive carbon and methane emissions, toxic mercury and ancient diseases.
I am working on this line of enquiry to explore the connection of the sun to the Anthropocene discourse and human induced climate crisis. I am exploring cutting-edge solar technology to study the sun at an unprecedentedly close perspective to highlight future urgencies in our climate for the making of new artworks to engage with the trauma climate change is leaving behind in our environment.
I am also undertaking a complementary research project at the ‘Institute of Athens,’ which simultaneously aims to encourage environmental sustainability. I am exploring the broader context of the sun through a rare archive of paintings by historical masters including Turner and Munch to provide an understanding of how global warming affects specific locations today. I have been granted permission to use this study to develop artworks that examine how the light spectrum has changed since the 1500s to the present day.
The UN DECADE OF OCEAN SCIENCE FOR SUSTAINABILITY commences next year and I am in dialogue with scientists to explore a number of current topics and creative ways to envisage how ocean chemistry has major implications for our world system. With the threat of global water shortages in the coming decades, I would like to imagine what a water-scarce future might look like. I’m interested to explore how new innovations might help us to acquire sources of water and to help us to conserve it. With rising temperatures and melting polar ice caps accelerating beyond control, perhaps we can harness natural processes of the sun’s rays into energy to create ice and water? In my explorations within this line of enquiry I would like to draw attention to the broader context of water by exploring new innovations in age-old techniques of harvesting water from rain and fog.
#painting #film #sound
Found in the Dark
Also visit: dirkbraeckman.be
Dirk Braeckman has spent the past 30 years developing an impressive portfolio. Working with the medium of photography, he occupies a distinctive place within the visual arts.
Braeckman has taken part in numerous exhibitions both nationally and internationally. In 2017, he represented Belgium at the 57th Venice Biennale. He has had solo shows at The Modern Art Museum of Fort Worth (USA), LE BAL (Paris), De Pont (Tilburg), De Appel (Amsterdam), S.M.A.K. (Ghent), BOZAR (Brussels), M (Leuven) and ROSEGALLERY (Santa Monica, CA). Braeckman’s works are part of important private and public collections around the world, including in FRAC Nord-Pas de Calais (Dunkirk), Sammlung Goetz (Munich), De Pont (Tilburg) and Fondation Nationale d’Art Contemporain (Paris), Central Museum (Utrecht), and Musée d’Art Contemporain et Moderne (Strasbourg).
Artworks cannot give any solutions to Problems
Also visit: www.oswaldomacia.com
Oswaldo Maciá was born in the Caribbean city of Cartagena de Indias, Colombia. He lives and works in the UK and USA.
In 1976 he attended the School of Fine Arts in Cartagena at the age of 16, graduating in 1980. In 1982 he moved to the capital Bogotá to study advertising at Jorge Tadeo Lozano University, and left after five semesters to become a full-time artist. Maciá taught Fine Art at Jorge Tadeo Lozano University from 1985 before moving to Barcelona in 1989, where he studied Mural Painting at Llotja School of Fine Art.In 1990 Maciá moved to London, where he continues to run a studio. He studied BA in Sculpture between 1990 and 1993 at Guildhall University followed in 1994 by Masters in Fine Art at Goldsmiths College, University of London. In the 1990s his work featured in solo exhibitions in London venues at the forefront of defining installation art, including the Museum of Installation and Clove Gallery, and group exhibitions such as Ideal Standard Summertime at Lisson Gallery.
Maciá creates olfactory-acoustic sculptures that have been exhibited all over the world. His work is held in international collections, including Tate Britain and Daros Latinamerica. His sculptures have been included in numerous large-scale periodic exhibitions and solo presentations across four continents. As he states in his manifesto, Maciá seeks to stimulate questions and counter received opinion. In 2015 Maciá won a major public commission for the city of Bogotá selected by an international jury. Scenario in Construction is the first public sound sculpture of in the southern hemisphere.
The sense of smell features in many of Maciá’s sculptures. In 2018 he was commissioned by the first Riga Biennial to create An Opera of Cross-pollination, a room-sized olfactory-acoustic sculpture that positions the audience at the frontier where knowledge ends and ignorance begins. According to Maciá, this is the place where the senses begin to speak. In a yellow room, volumes of insect sounds gathered from the rainforest in Choco, Colombia combine with the sounds of metal fences and the scent of cross-pollination. In 2018 Maciá won the Golden Pear at the fifth annual Art and Olfaction Awards in London for his experimental work with scent. He was awarded the Prize for the presentation of Under the Horizon (2011/17) at Sala San Antonio Abad – Centro Atlántico de Arte Moderno Gran Canarias España. The smell composition of Under the Horizon draws from the scent of organisms growing under the earth, while employing sculptural conventions and narrative expectations. A plinth elevates a bath to eye level where the taps are constantly running unchecked, filling the tub with a black liquid holding the scent of ‘under’, accompanied by the sounds of cloth being stitched by machines, mixed with the sound of artificial rain. These recordings were made by the artist in a large Bulgarian factory, manufacturing military uniforms for different wars on our planet.
Sound too is important in his work. Something Going on Above My Head (1995-99), an installation comprising sixteen speakers playing a symphony of two thousand birdcalls from Africa, the Americas, Asia and Europe, has been exhibited in nine countries – most recently at Tate Britain (2016) in London. Surrounded in Tears (2004) has been exhibited in many museums, including Tate Liverpool (2004) and the Bienal de Cuenca, Ecuador (2011) where Maciá was awarded the first prize. Comprising twenty-two megaphones, each dedicated to a different sound channel, this sculpture is a symphony of one hundred human crying sounds sampled from different cultures and periods. Researching the sounds of tears for two years, the artist consulted recordings and references from a number of collections including ethnographic sound archives across Europe, the Freud Museum in London, the archives of the radio channel Caracol in Colombia, and he gathered the sounds of new born babies from the Royal London Hospital in Whitechapel, London. At Manifesta 9 in Belgium (2012) Maciá presented Martinete (2011-2012), an olfactory-acoustic sculpture he began researching for the 2011 Porto Alegre Biennial in Brazil.
- Goal 15: Life on Land
Take urgent and significant action to reduce the degradation of natural habitats, halt the loss of biodiversity and, by 2020, protect and prevent the extinction of threatened species
In a series of projects my work can be identifies with the targets set in the Goal 15: Life on Land biodiversity loss and combat desertification.
Work title. 'The Opera of Cross-pollination'
Produced in collaboration with:
Dr. Claudia Alejandra Medina Uribe (Head of Research Programme in Biodiversity) Entomologist with expertise in Coprophagous beetles (Coleoptera: Scarabaeinae)
Dr. Carolina Castellanos (Professor at Universidad Nacional de Bogota Colombia) Biologist with expertise in Orchids and euglossine orchid bees
The Alexander von Humboldt Institute located in Villa de Leyva, Boyacá, Colombia
Ricardo Moya (Perfumer, International Flavors and Fragrance (IFF))
Field recordings were taken in the Choco-Darien forests in the west of Colombia and east of Panama. The region has extremely high rainfall, and the forests hold great biodiversity. which hosts around 4,270 different species of orchids alone. Incalculable number of insects.
Collaboration is essential in my work. For me, it has the shape of the letter ‘Y’, we walk together to the midpoint and there we divide.
The scientific material goes to laboratories, studies, and future publications, in the case of coprophagous beetle’s fieldwork it is used to compare with previous studies and measure the health of the rainforest. The field recordings of the calls of the insects go to the archive in the institution and they go to my studio. There I use them for the acoustic compositions that form part of The Opera of Cross-pollination. The 22.2 channels of sound, in tandem with the olfactory compositions developed in collaboration with Ricardo Moya, create spaces for new thoughts and new questions.
The work is an olfactory and acoustic composition.
The Opera of Cross-pollination
Olfactory-acoustic sculpture and ambisonics composition 22.2
Oswaldo Maciá’s The Opera of Cross-pollination (2018), newly commissioned for the Riga Biennial, positions the audience in the vague frontier where knowledge ends and ignorance begins. According to Maciá, this is the place where the senses begin to speak. The immersive installation is an olfactory-acoustic sculpture that directly addresses this frontier, avoiding visual representation and inviting us into a dialogue between our senses. Volumes of sound collide in space, while aromas diffuse throughout the same space. Experiencing the interaction of these elements stimulates the emotional and memory centers of the brain — processes we do not yet fully understand, ideal for both scientific and artistic exploration.
Cross-pollination is as important for humans as it is for plants. Charles Darwin published the first major work on the cross-pollination of orchids in 1862 and his lifelong work in the field showed the intricacy of the systems and intelligence involved. Today, 25,000 orchid species are known to exist. No other plant family offers such a wide variety of shapes, colours and scents.
Wild orchids have developed a sophisticated olfactory language that even produces different smells during the day and the night, depending on the pollinators they wish to attract. The domesticated orchids sold in shops are odourless hybrids by comparison.
Echoing Rachel Carson’s 1962 book Silent Spring, Maciá affirms the importance of insects and their symbiosis with plants for human existence and for the environment generally. The Opera of Cross-pollination stages the drama though the phenomena of human sense perception. If the world follows its current trajectory, cross-pollination, in both intellectual and biological terms, may soon disappear, with catastrophic consequences.
To mention an interconnected project:
Fables of The Wind – Swarm Welcome (2018-19)
is an acoustic monument to the word migration. Maciá’s sound sculpture is a celebration of migration and crosspollination. It comprises the voices of migratory winds recorded in different deserts around the world and the calls of insect pollinators recorded in the Choco rainforest, Colombia. The phase ‘Swarm Welcome’ of the title refers to the beauty of crosspollination.
The artist has been travelling to deserts across the globe to record winds using ambisonic microphones, most recently to the Atacama Desert in Chile as a special commission for the composition presented in Struer. Other locations have been the Chihuahua Desert straddling the US / Mexico border, Bisti/DeNa-Zin Wilderness and White Sands in New Mexico, the Great Sand Dunes in the San Luis Valley in Southern Colorado, and the tundra of Svalbard in the Arctic. Each migratory wind has its own voice, its own fables, and a unique booming sound as it moves through the desert sand or, in the case of the Artic, ice. Desert winds form the first part of this two-movement composition: the second is formed from calls of insects who pollinate flowers. Two-thirds of all species on Earth are insects, voiceless creatures who make themselves heard by vibrating their legs and wings. In 2018 Maciá recorded these sounds in the Choco rainforest on the Pacific coast of Colombia, his country of birth.
Fables of The Wind – Swarm Welcome (2018-19) focuses on the fine line dividing listening and hearing. When we listen, rather than simply hear, we pay full attention and process information. What happens when we acoustically look to the word ‘migration’? Can this undo the hijacking of this term by dog-whistle politics? ‘Swarm’ usually refers to the displacement of insects in groups. In our current disturbing times 'swarm' has been used to describe humans as if they are a plague. Ironically this appropriation is taking place while swarming insects are disappearing in Europe and the United States in large numbers. We desperately need them to avert catastrophe. It is difficult to imagine the world without insects and without their great contribution as the pollination of flowers and cross-pollination in all its meanings. In Struer, Maciá’s vertical sound-sculpture is made of 16 speakers and 1 subwoofer placed in an ascendant spiral form inside a functional water tower. At the entrance of the building is a banner with the title of the work; inside a yellow light warms the distinct architecture.
“It is clear for me as an artist that my work cannot solve social and political problems. I can only create spaces for thoughts and raise new questions with the simple intention of reaching new answers. I am interested in expanding the sense of sculpture into acoustic volumes. Maybe this can change perception and encourage us to think more globally in an echo of the intricate migratory winds that embrace our planet. I want to affirm the importance of insects and their symbiosis with plants for human existence and for the environment generally. If the world follows its current trajectory, cross-pollination, in both intellectual and biological terms, may soon disappear, with catastrophic consequences.” - says Maciá.
#soundrecording #smells #sculpture
Movement of Possible
Also visit: www.sandralorenzi.com
Artist and poet, Sandra Lorenzi questions our relationship to environments as a substrate historical and political, as well as fertile territory, inhabited by a multiplicity of beings. Designed from material, energetic or symbolic entities apparently foreign to each other (figures, objects, architectures, plant species, minerals ...), her drawings, sculptures and installations lead us to compose alternative stories to the "great history".
She deploys a restorative work where issues of "taking care" are central. Through her exhibitions, she reinvents tools and concepts of this reconstruction. Intended for orality, her practice of "Les Odes PhilosOphiques" finds an echo to this memorial approach liberated from limiting form, open to senses and imagination. From her writings, characters arise, witnesses of a "subtle comedy", living together to renew poetic of existence.
Sandra Lorenzi creates worlds, deploys archetypal and original forms, between history and philosophy, knowledge and imagination, like antechambers of reality. To penetrate these "interzones" is to cross an initiatory experience where the loss of reference leads to shake up established values.
Sandra Lorenzi graduated from the National School of Art at Villa Arson (Nice) in 2009. Her work has since been shown in institutions and galleries in France and abroad (Italy, Greece, South Africa, Germany ...). She was in charge of higher education at the Institute Superior of Arts in Toulouse from 2012 to 2019. She teaches now at the Superior School of Arts in Annecy Alps. She is also an artist-researcher for the "Laboratoire Espace Cerveau" of the Institute of Contemporary Art in Villeurbanne.
To meet environmental challenges of our time, it is essential to convoke a dynamic of presents able to create other ways of being in the world. A prospective work is underway to renew old paradigms in life-giving forces. In my writing work, I deploy imaginaries. These are contemporary mythologies that oppose excesses of transhumanism, pitfalls of modernist progress. The depletion of non-renewable resources, energies, relationships between living beings are my subjects that found an earth policy. Here, poetic and political are inseparable. I probe beings and their pasts: I work with transgenerational memory of the earth. I also create "care objects" (sculptures, drawings, frescoes) to revitalize the invisible links with energetic's vibration of earth. We can feel these vitalizing forces, by reconnecting with the sensations of our body and our spirit, by letting go of its reflexive properties.
My artistic work allows this "movement of possible".
- Goal 3: Good Health and Well-being
- Goal 7: Affordable and Clean Energy
- Goal 11: Sustainable Cities and Communities
- Goal 14: Life Below Water
- Goal 15: Life on Land
#sculpture #drawing #poetry
Participatory knowledge Making
Also visit: katausten.com
Kat Austen is a person. In her artistic practice, she focusses on environmental issues. She melds disciplines and media, creating sculptural and new media installations, performances and participatory work. Austen’s practice is underpinned by extensive research and theory, and driven by a motivation to explore how to move towards a more socially and environmentally just future.
Working from her studio in Berlin, Austen is currently Artist in Residence at WRO Center for Media Art (EMAP/EMARE), Artist in Residence at the Faculty of Maths and Physical Sciences, University College London and Senior Teaching Fellow at UCL Arts and Sciences. She is a member of the Professional Association of Visual Artists Berlin (bbk berlin), an inaugural member of the London Creative Network and is co-founder of the DIY Hack the Panke collective in Berlin.
Austen’s field research has included a voyage around the Canadian High Arctic as Artist in the Arctic 2017 for Friends of Scott Polar Research Institute (University of Cambridge) for her project The Matter of the Soul. In 2018 Austen was selected as inaugural Cultural Fellow in Art and Science at the Cultural Institute, University of Leeds for the same project. Austen has been awarded residencies internationally, including with NYU Shanghai, ArtOxygen Mumbai, LAStheatre, the Clipperton Project and Utter! Spoken word.
Austen has exhibited at Bonhams Art Gallery, London; The Polar Museum, Cambridge; Kuehlhaus, Berlin, among others, and her work is held internationally in private collections. She has performed around the globe, including at Opera North, Leeds; Fusion Festival, Berlin and Headlands Center for the Arts, San Francisco.
My artworks address factors affecting human behaviour with respect to non-human agents in the environment, for example: empathy for other species or ecosystems (SDGs 6, 13, 14, 15) and food (SDG 3). My participatory research strategies not only directly research topics of interest, such as DIY explorations into the chemistry of water or microplastic pollution and image theatre workshops into the agency of earth and water (SDGs 13, 14, 15), but they also are shaped in order to transfer and democratise knowledge-making practices to diverse communities, and to foster social, political and environmental agency through active participation and intervention in environmental and social systems (SDGs 4, 11).
My work stems from an urgent and constant drive to understand how we can live better and more justly with other entities - be they people, other species, or the entire planet. My art acts at the boundary between what we think of as the self and other(s). It redefines and enriches our relationship to the environment and society.
My artistic outputs span performance, installation, experimental music and participatory projects. In my work, I explore empathy with non-humans, social agency, power relations and identity in the context of global systems such as industrialisation and migration. My gaze regularly rests on the climate crisis, food challenges and microplastic coexistence with geological and biological entities.
Grounded in extensive transdisciplinary research, I engage with the powerful practice of participatory knowledge making - in which I include DIY Science, citizen science, hacking and making alongside participatory artistic research. Through my practice, I work with how these methods engender socio-political agency and address inequalities and power imbalances within society, exploring the interrelationship between knowing and acting, particularly in the context of environmental problem spaces.
- Goal 3: Good Health and Well-being
- Goal 4: Quality Education
- Goal 6: Clean Water and Sanitation
- Goal 11: Sustainable Cities and Communities
- Goal 13: Climate Action
- Goal 14: Life Below Water
- Goal 15: Life on Land
#installation #performance #sculpture
A freedom of expression Promoter
My work has been established in the international art and science milieu, based on interdisciplinary research of the developments and application of ideological structures in contemporary society. Grounded in sculpture and new media, my practice has allowed me to contribute to the theoretical knowledge exchanged within the academia, as well as to lead strong collaborations in developing cross-conceptual productions that include installations, performances, site specific art, videos, sound, workshops, lectures, talks and texts - all connected with technological practice. For example, in a recent series of four projects K-9_topology (2014-2017); I have explored the co-evolution between humans and dogs, in large-scale and site-specific installations that combined biotechnological, ethologycal, olfactory, video, performative, interactive, drawing and sculptural elements. These pointed towards emphatical distance to the Other, and questioned taxonomies of gender, race, class, culture, nation and religion. My current ongoing artistic research titled !brute_force (2019-2020) dwells on the dimensionality of techno-otherness connected with the canine imagination, while addressing some aspects of artificial intelligence that challenge our social and political reality. Within Studiotopia I will further reflect on how such diverse elements coexist in the installation space, through both dialogues with scientists and continuous artistic production.
Maja Smrekar (SI) graduated at the Sculpture Department of Fine Art and Design Academy in Ljubljana, Slovenia, holds Master of Arts in New Media, and was in 2019 awarded the highest degree for her artistic achievements by the Rector of the University of Ljubljana (equivalent to scientific title PhD). She has been a guest professor at the Sculpture Department of the Academy of Fine Arts and Design, Ljubljana (2018 - 2019), as well as a visiting lecturer at Interface Culture Lab, University of Art and Design, Linz (2018). Smrekar has exhibited at festivals such as Ars Electronica (Linz, Austria), Click festival (Elsinore, Denmark), Transmediale (Berlin, Germany) and Musrarra Mix (Jerusalem, Israel), as well as ZKM Karlsruhe (Germany), Musée de l`Homme (Paris, France), MAK Vienna (Austria), Het Neuwe Institut (Rotterdam, The Netherlands), RMIT Gallery Melbourne (Australia).
In 2018 she has been invited as a freedom of expression promoter by an initiative of the Equal Opportunities for Women to become a member of Slovenian PEN centre (part of PEN International). Awards: 1st Prize - Cynetart festival 2012, awarded by European Centre for Arts Hellerau (Dresden/Germany), Honorary mention at the Ars Electronica festival 2013 (Linz/Austria), Prix Ars Electronica - Golden Nica 2017 in Hybrid Art (Linz/Austria), she was awarded Prešeren Foundation Award 2018 - the highest national award for artistic achivements by the Republic of Slovenia. She lives and works in Ljubljana (Slovenia).
As an interdisciplinary artist collaborating with scientists over the last 10 years, I believe I am able to reflect on the above selected UN sustainable development goals from both fields. However, as I examine my gathered material I always simultaneously allow my technical and conceptual investigations to be guided by intuition to be finally translated into artistic storytelling. Such artistic practice allows me to address challenges of hybrid processes that speak to the complex nature of human and nonhuman relationships in our contemporary society as a whole. Therefore, I hope the aspects of my previous research would add an engaging perspective to this residency, as I hope they would concurrently inspire further examination of how this kind of art-sci dialogue outputs evolve in our increasingly digital, global, and optocentric world in order to discuss the potential impact of such genre of collaborations on the audiences of the future.
- Goal 3: Good Health and Well-being
- Goal 9: Industry, Innovation and Infrastructure
- Goal 13: Climate Action
- Goal 15: Life on Land
#installation #sitespecificart #sound&video
Human being and “soft” Technologies
Also visit: www.christiaanzwanikken.com
Dutch artist Christiaan Zwanikken (1967) has received international recognition through his kinetic and mechanical sculptures, sound works, performative and responsive installations. Using a variety of sculptural media, robotics, biology, micro-controllers, and sound— his work is both an artistic and technological experiment in which innovation and invention play an important role.
The substantive basis of the recent work is based on the assumption that human activities causing climate change and the destruction of biodiversity are symptoms of a greater cognitive and phenomenological problem. As technological artifacts proliferate and biodiversity as a living scaffold of life-learning is not comprehended, the role of the sensitive experience of the environment in the development of cognitive and cultural abilities declines. Cut off from the elements of the living world from which human intelligence emerged and on which it had long relied, people are now deprived of a basic intellectual resource. In such circumstances, there is no experiential, conceptual, or representational basis for appreciating the debt which the human mind owes to other forms of life on Earth. Without empathy for biodiversity, it becomes practically impossible to achieve a stable psychological foundation for the kind of sustained ecological commitment needed to solve contemporary environmental crises.
His work has been presented in solo and group exhibitions at the Museum of Natural History (NYC), Exit 2011 (Paris), ISEA2012 (Albuquerque), Kinetica Museum (London), Museum Tingeuly (Basel), Kunsthaus Graz (Austria), ICC Centre (Tokyo), National Galerie (Prague), Taipei Fine Arts Museum (Taiwan), Museu del Chopo (Mexico-City), and Stedelijk Museum Amsterdam (Netherlands). His work can be found in numerous public and private collections. He was the recipient of several Dutch and international grants. In 2014 he had a major retrospective show at Museum Het Valkhof (Netherlands)
He received a BFA in sculpture from the Gerrit Rietveldacademie (1992) and a MFA in New Sculptural Media from the Rijksakademie (1994), both in Amsterdam.
His studio is based in Amsterdam but he also works for extensive periods of time at a four hundred-year-old former Franciscan monastery, Convento Mértola, Portugal in whose supernatural environs he uses as a lab for studying and experimenting with natural processes.
Exploring the relationship between man, nature, science, and technology, Zwanikken overlaps the animate and inanimate. Each sculpture is therefore both mechanical and autonomous with a personal identity created through software, electronic sensory and artificial speech. Although he uses “hard” technologies like machines and control-systems, he always tries to address the human being and “soft” technologies.
#robotics #kineticsculpture #responsiveart
Embodied perception and life as movement
Currently no website
Alexandra Pirici is a Romanian artist and choreographer whose performances and installations explore history and invisible structures of power, in both gallery and public spaces. Her work was shown in the Romanian pavilion at the 55th edition of the Venice Biennial (2013); at Manifesta 10, St. Petersburg (2014); at the Berlin Biennale (2016); and in the decennial exhibition Skulptur Projekte Münster (2017). She has also presented her performative environments at Hebbel am Ufer, Berlin (2014); the Centre Pompidou, Paris (2014); the Van Abbemuseum, Eindhoven (2014-15); the Museum of Modern Art, Warsaw (2015); Tate Modern, London (2015); and the New Museum, New York (2018), among many others.
Alexandra Pirici works in museum contexts, theatrical frameworks and the public space. She choreographs ongoing actions, performative monuments and performative environments that fuse dance, sculpture, spoken word and music. Her works deal with monumentality or the history of specific places and institutions in order to playfully tackle and transform existing hierarchies. They also reflect on the history and function of gestures in art and popular culture or on questions about the body, its presence, absence or image and the politics of capture. Her performative artworks are part of private and public collections as live actions.
I am interested in reclaiming the body as an apparatus for scientific experiments, observation and knowledge production; in reimagining life and the human in "movement", beyond managerial, extractivist quantification and standardisation cutting across both old and new industries (such as data or the arts turned "creative industries"); in embodied perception and sensuous reason as necessary paths to a shift in the production of knowledge, from the so-called "disembodied objectivity" of 17th century masculinist rationalism that spurted a subsequent simplification of life into the plantation and factory models of production, colonial conquest and extraction, to a multi-perspectival production of truth and knowledge, now crucial for enabling the survival and nurturing of an entangled, multi-species world. I believe an insistence on a complementary re-grounding of abstraction in embodied, subjective experience has a lot to do with how we imagine a future of well-being, community, education and intelligence altogether. It might also help us think beyond the current industrial paradigm that continues to ravage and destroy complex life-systems and ecologies, and imagine different forms of collaborative living.
Goal 3. Good Health and Well Being
Goal 4. Quality Education
Goal 9. Industry, Innovation and Infrastructure
Goal 11. Sustainable cities and communities
Goal 15. Life on Land
#choreography #installation #performance
Currently no website
Ciprian Mureșan (b. 1977 Dej) lives and works in Cluj, Romania. He graduated Academy of Fine Arts, Cluj-Napoca in 2000. Muresan works with a variety of media, from drawing, video and objects to photography and books. Since 2005, Ciprian Muresan is editor of IDEA art + society magazine, published in Cluj-Napoca. In his works he explores, salvages and re-contextualizes historical, social and cultural (literary and /or artistic) references in order to unveil the complexity of everyday life and the conditions of viewing history.
In 2009, he represented Romania at the 53rd International Art Exhibition of the Venice Biennale. His works have been exhibited in SMAK Ghent, Centre Pompidou, Paris; Venice Biennale; Ludwig Museum, Budapest; Tate Modern, London; Contemporary Art Center, Geneva; n.b.k. - Neuer Berliner Kunstverein, Berlin; New Museum, New York.
Selected exhibitions: Ciprian Muresan, SMAK Museum, Ghent, BE; L’atelier sans fin, Galerie de l’Atelier Brâncuși, Centre Pompidou, Paris (2019, solo, with Șerban Savu); #1.3 WAYS TO TIE YOUR SHOES: CIPRIAN MUREȘAN, Convent Art Space, Ghent (2017, solo); Viva Arte Viva, 57th Venice Biennale (2017); Your survival is guaranteed by treaty, Ludwig Museum, Budapest (2015, solo); Allegory of the Cave Painting, Extracity Kunsthalle, Museum Middelheim, Antwerp (2014); Contemporary Art Gallery, Vancouver (2013, solo); Six Lines of Flight: Shifting Geographies in Contemporary Art, Museum of Modern Art (MOMA), San Francisco (2012); Stage and Twist, Project space, Tate Modern, London (2012, solo, with Anna Molska); Contemporary Art Center, Geneva (2012, solo); Recycled Playground, FRAC Champagne-Ardenne, Reims (2011, solo); Les Promesses du passé. Une histoire discontinue de l’art dans l’ex-Europe de l’Est, Centre Pompidou, Paris (2010); The Generational: Younger than Jesus, New Museum, New York (2009).
#drawing #video #sculpture