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Hypercompf

Hosted by: Onassis Stegi

Athens, Greece


https://www.hypercomf.com/

Biography

Hypercomf is a multidisciplinary artist identity, materialized as a fictitious company profile, founded in Athens, Greece, in 2017, by artists Ioannis Koliopoulos and Paola Palavidi. Based between the city of Athens and Tinos island in the Cyclades, Hypercomf has developed an international practice, producing location, site and time specific projects and activations. The team focuses on targeted collaborations with individuals, communities and locations ranging from musicians to scientists and community choirs to urban rooftop pigeon keepers.

Hypercomf members are graduates of Central Saint Martins School of Art and Design(2007) and Athens School of fine Arts(2009). Since joining forces in 2017, as Hypercomf , they have been recipients of individual Artworks fellowships 2018, a Fulbright Fellowship 2019-2020 (Research Scholar Paola Palavidi) and Outset Greece 2019-2020 production grant. Hypercomf has participated extensively in international exhibitions, projects and residencies, some more recent include a Pioneer Works Visual Arts Residency, NY, US 2019-2020 // Rigenerarte, Municipality of Veneto, IT, 2019 // 7tth Biennale of Thessaloniki 2019 -2020, GR // 7th Syros International Film Festival, 2019, GR // Still Here Tomorrow, Stavros Niarchos Cultural Center, 2019, GR //Wasn’t it you who said that it was going to last forever, HausN, Athens, 2019, GR// Heat Company, Brussels, BE // First Draft, Sydney, 2018, AU

Artists Statement on SDGs

Hypercomf’s practice has been formed around the message of responsible consumption and production starting in 2017 when the team made its first public appearance as a pseudo company, opening a pop-up shop offering products and subverted concepts of production itself. Everything in the show was made utilizing solely repurposed fabrics, reclaimed clothing and furniture upholstery, from this material we created multifunctional wearables, furniture, wall tapestries and video with object protagonists. Since then the team has been sourcing second hand material for the production of its projects , avoiding the introduction of new materials unless absolutely necessary. The aim has always been finding inventive ways of adding value to waste through concepts that bring to life the ideas of re-use and environmental protection for the public.The most recent example of this has been the production of venetian style terrazzo mosaics using marine pollutants, specifically plastics collected from beach clean ups.

Past projects have also dealt with the interaction between industry and local community, the importance of locally sourced raw material, the reuse of production left overs and re thinking the accessibility of the community to the industrial spaces.

Life on land has been a focus the past two years, animals in our narratives are representations of the primal self, of aspects of culture and our belonging in the greater natural network . Whether it is GPPS tracking sheep routes in Alpago, Italy or researching and documenting the interaction of animals and humans in the newly created urban ecosystems. The current focus is to life under water. Hypercomf is based in part on an island of the Aegean sea. This has drawn their attention to the issues of the endangering of the marine ecosystem, oceanic pollution, water politics, the impact of mass tourism and the anthropology of deep sea exploration.

The subjects we are investigating currently, which could greatly benefit of a collaboration with a person of science, have to do with human influence on the marine ecosystem and the anthropological and spiritual connection between humans and the deep sea, a connection mediated through high-end technology, sound and robotics .Through the exploration of these topics we wish to touch on the subjects of marine networks of commerce, culture, tourism andinformation, as well as the various different oceanic manifestations of the human drive for pleasure gratification, exploration and exploitation.

#INSTALLATION #DOCUMENTARY #WEARABLES

SDG Goals

  • Goal 9: Industry, Innovation and Infrastructure
  • Goal 12: Responsible Consumption and Production
  • Goal 14: Life Below Water
  • Goal 15: Life and Land

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Siobhán McDONALD

Siobhán McDONALD Hosted by: GLUON and co-financed by DIASDublin, Irelandwww.siobhanmcdonald.comBiography 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. Artists Statement on SDGsI 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 SDG Goals (tbc) Goal 1 Goal 2 Goal 3
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Oswaldo MACIÁ

Oswaldo MACIÁ Hosted by: CCCA LazniaLondon, UK and USAwww.oswaldomacia.comBiographyOswaldo 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.Artists Statement on SDGs “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.”#SMELLS #SOUNDRECORDING #SCULPTURE SDG Goals Goal 15: Life on Land
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Ciprian MUREŞAN

Ciprian MUREŞAN Hosted by: Cluj Cultural Center Cluj, Romania Currently no website Biography 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
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Voldemars JOHANSONS

Voldemars JOHANSONS Hosted by: GLUON Riga, Latviahttps://johansons.info/Biography The work of Voldemars Johansons merges his interests in visuality, sound and science and explores the perception and nature of experience in visible and audible domains. He creates experimental projects that synthesise art, science and technology to explore diverse phenomena and represent the experience through environments assembled from the visual, acoustic and spatial structures. His research interests address the organic combination of acoustic information and spatial forms in creation of sonic environments and sculptures, examining the joint morphology of acoustic, visual and spatial domains. In his work borders between the perception of the visible, the invisible and the audible dissolve to create a unified perceptual situation. “Art has the privilege of being able to reflect about the unproven, the unrecognised, thus broadening the horizons of thinking,” comments the author. Johanson’s work has been presented at events and diverse venues internationally: the Venice biennial of Architecture, Ars Electronica Center (Linz), BOZAR (Brussels), Ruhrtriennale (de), Kochi-Muziris Biennale (India), TodaysArt Festival (The Hague), STEIM (Amsterdam), Sound Forest (Riga), Unsound Festival (Krakow), CAC Vilnius, Concertgebouw Brugge, WRO Media art biennale (Wroclaw), LISTE art fair (Basel), the Latvian National Opera and elsewhere.Artists Statement on SDGsI appreciate the unique opportunity that Studiotopia residency presents: I am looking forward to encounter science and explore phenomena that humans can observe by way of knowledge of the physical world but can rarely meet by way of direct experience. In the light of Sustainable Development Goals, I feel most connected to the goals of innovation and clean energy for maintaining sustainable environment on the planet Earth. Since Sun is the source of mostly all external energy radiating towards our planet, in this regard I am particularly interested in Solar physics and observations. Like many other active stars, the Sun is surrounded in plasma atmosphere and so the plasma physics and fusion energy are naturally within the area of interest. These subjects are closely related to research that holds promise of safe and clean source of future energy by means of producing fusion reaction here on Earth. One of the most ambitious energy projects today is the monumental International Thermonuclear Experimental Reactor (ITER) that seeks to create the necessary conditions for nuclear fusion reaction. More specifically I would be interested to explore two of the currently known and researched pathways to achieve fusion: either by laser plasma generation, with high-intensity laser light or by electrical field in a rarefied atmosphere, confined within surrounding magnetic field. More generally these branches of research involve light and optics and interaction of magnetic fields within plasma environment. #IMMERSIVEENVIRONMENTS #SCULPTURE #SOUND SDG Goals Goal 7: Affordable and Clean Energy Goal 9: Industry, Innovation and Infrastructure Goal 13: Climate Action
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