Piotr Hanzelewicz – Meanwhile-regardless ( Tautology and a Tale )



Piotr Hanzelewicz (Poland, 1978) living in Italy He made several studies and many jobs. Hanzelewicz works on the border that separates transparency from opacity aesthetically as semantically. The raw materials used are idiomatic expressions, habits, conventions. The artistic investigation therefore focused on levels of ambiguity, a hidden meaning, a “double bottom”, a secret passage or a vox media, is a fertile ground to bring ambiguity to its extreme consequences or pointing to a climax or rather a redefinition aware of the significance of the ambiguous object.
If the word is central, it is always a real word, as an agent in shaping the vision of reality or of his perceping.
If reality is “called”, it is formed in a concrete form. Between transparency and opacity moves a disambiguation process that aims to clarify what is complicated, leaving the charm of complexity. While the raw materials lie in the language and its cultural sedimentation, the materials are most often ephemeral and delicate. Tracing papers, transparencies and chalcographic paper to translate opacity, transparency and seriality (where mass production is always strictly made of a recurrence of unique manual). Hanzelewicz works on concepts, relating them to spaces and their history, comparing them to their own experience. As a direct result often produces site-specific works and contest specifc. Continue reading Piotr Hanzelewicz – Meanwhile-regardless ( Tautology and a Tale )


Daniela Zuniga Arancibia / Falseness as a path to the truth: “It’s all in the eyes”.



About the artist:

Daniela Zuniga Arancibia was born in Valparaiso in Chile. After finishing her studies in Science, she moved to France and enrolled at ESACM Art School in Clermont-Ferrand. A year of international exchange in Italy and other travels have been a real influence in her work. Since 2015 she has lived in Marseille working in an art collective with 8 other artists. DZA’s work is usually concerned in the making of installations and sculptures but encompasses other media such as video, sound and performance. Working on the perpetuation of gestures as a binding process to the finitude of life, she approaches concepts such as incertitude and the multiplicity of reality, transforming them into a substrate to create aesthetic answers to questions from science and philosophy which stimulate her art practice. These unsettling questions haunt the artist, who tries to recreate new esoteric codes. Through totemic forces and forms, she attempts to exorcize these uncanny metaphysical queries. Baroque formal concepts are influences in the same way as classical concepts, and crisscross her work. The unity formed between perfection and imperfection, the sacred and the pagan guide her path.



Falseness as a path to the truth: “It’s all in the eyes”

selected artist’s works

private view

Dimitri Antorka-Pieri / infinite narratives: optimism / end – times


Infinite narratives : Optimism / end-times

Mixed media, drawing


A site specific installation of drawing, light, reflections, and fragments presented all at once as Tralfamadorian literature might.

My self-published collection of drawings on themes of modern eschatology ; “Optimism / end-times” will also be previewed during the private view.

About the artist:

Living and born in London, Dimitri has been publicly making art since 2004, first in the comix scene as jimi gherkin then organising DIY art exhibitions and events, founding the artist’s collective Alternative Press and later self publishing poetry books with his given name. He has lead various workshops on zine-making and DIY screenprinting with organisations such as the Museum of Childhood, Demelza, Chapel Arts, Winchester School of Art, Harrow Carers, Usurp Gallery, Conway Hall, and Resonance FM.



The concrete jungle repeatedly depicted in your drawings in a very eerie, dark and apocalyptic manner, what is your relationship with the urban landscapes and living in the jungle?

I was born in camberwell, south east london and have always lived in surrounding areas of greater london. Urbanised areas. As a boy and young man I lived nearer to woodland and closer to Kent and always felt drawn towards the woods. i don’t want to get too into talking about the city, or the “concrete jungle” too much. But I have had many dreams where I’m in a industrial area and am running away from something… The building type structures in my drawings I have taken to symbolise civilization more generally, which I think is going to go through some radical changes in the next fifty years or so. I do the drawing kind of automatically, then afterwards I relate it to my state of mind, things that are influencing me, what I am consuming, reading etc… I am trying to work from a non-anthropocentric perspective. I think a lot of art, a lot of writing is centred around the human experience, I’m trying to get away from that. the point of my recent work; optimism / end-times, is, I think that when the buildings fall, when civilisation falls and the numbers of humans – either over a long or short period – decrease, because of fuel crisis, war, poverty, climate crisis etc etc then that will be a big bonus for the rest of the nature. Ultimately urban landscapes are of not much interest to me , as what they relate is a human influence on the earth, viz: destruction.

What significance does the creative practice and creative engagement hold in your existence?

My work patterns are sporadic, but when I am working , whether writing poems, drawing, painting, producing a book, I feel most complete. I feel that the work informs me. When I work I feel its a learning process. It’s not always comfortable but I often feel I gain something internally from practicing my art. Sometimes though I think, “what’s the point?” and I can’t bring myself to do it. I’m thinking right now about how I can practice my art in a way that is practical and meaningful maybe in a political way. I haven’t figured it out yet…

What was your most surreal and vivid dream you had?

I feel this question is irrelevant generally, and dreams are highly personal reflections of our subconscious as well as images of our conscious minds. I have mentioned something on this subject relative to a previous question.

I’d like to recommend some reading which has informed my recent work; Endgame by Derrick Jensen, The Dark Mountain Manifesto, any of the films on submedia.tv , Petrosubjectivity – de-Industrialising our sense of self by Brett Bloom.

Also, go to any local protests, join the mailing list of your local disabled activist group, do some research on the current political situation, don’t have kids, think about what comes next…


interviewed by Orli Ivanov

Bruno Silva / From now until then, across the in-between.



And now, another route. This time diving between two points. Again an oblique movement, from up down and down up.

Time to sleep. Nobody work. Immersion!








Out of the Chunnel…

Time to open the eyes, take the bags, grab a coffee and search for good fish and chips.

Page de Route 7, Bruno Silva


From now until then, across the in-between, whiting powder (calcium carbonate), neon, lamp

Poem on the window:

The studio of the sculptor of my time by Sophia de Mello Breyner Andresen In Geografia, 1967

1. The Great Escape, digital print, glass.

2. Unnamed_0., blue paint, blue marbles, exhibition view from Mercato, Atelier SUMO, Lyon, Franc

3. A Lack of Brightness, spray, blue paper, exhibition view from Spotlightness, Flux Factory, New-York.

4. Unnamed_0., blue paint, blue marbles, exhibition view from Na Corda Bamba, Rua do Sol 172, Porto, Portugal.

5. Unnamed_0.1.2.1_1, HD video, 11’12’’, video : www.s-bruno.com/unnamed_0.1.2.1.html


about the artist

Born in 1986 in Vila Nova de Gaia, Portugal, Bruno Silva currently lives and works in Clermont-Ferrand, France. He is part of an artist collective space called Les Ateliers, where he shares a studio with 14 other artists. Some of his latest art experiences includes a residency in Residency Unlimited in New-York (2014), a residency in Studio36 in Spike Island in Bristol (2015), a solo exhibition in Rua do Sol 172 in Porto (2015) and most recently a collective exhibition in Flux Factory, New-York (2016) and a residency in Triangle Arts Association in New-York (2016).

Bruno works within different mediums including drawing, sculpture, painting, video and installation.

Working on movement, travel and displacements, he seeks to be adrift between mediums proposing different misappropriations to collected forms and ideas by giving them contemplative and allegoric approaches.


Rowan Corkill / The Seeker



Rowan Corkill / The Seeker

Rowan Corkill is a Scottish artist who has exhibited nationally and internationally with solo shows In the UK, Italy and Canada. He works within various artistic fields including sculpture, drawings, performance, photography, sound and taxidermy.

Corkill’s work is created from a deep ethnological fascination with various cultural, religious and occult beliefs, many of which are founded on a strong connection with nature. He uses his practice as a means to explore and examine endless belief systems, mythologies and ideologies created by mankind; questioning whether the modern world can learn from past ideas in order to regain our connection with nature and planet earth.





Do you feel more like a creator of new mythologies, or like an observer of “human and animal” behaviors and a philosopher?

Mankinds increasingly distant relationship to nature and other animals has always been the main observation of my work. As a species we hold ourselves with such high regards whilst disregarding the importance of everything else around us. With the population of humans increasing at such a high rate it is inevitable that other species will be effect by our presence on the planet. I use my practice as a means of acknowledging the importance of nature and other animals, whilst also emphasising the destructive behaviours of mankind.

Mythologies play a huge part in my work because they depict the relationship that mankind has had with nature over the centuries and how much that has changed with time. It shows us the powerful significance that nature has had on the evolution of mankind and the respect that we once had for it. My works tend to have a strong mythological presence because it elevates the subject beyond the norms of the everyday. It gives it a presence and importance that it already has, but can sometimes be hard to see. My work tends to draw from many mythologies which amalgamate together. I wouldn’t necessarily say that they become a new mythology since many have the same core ideas of respecting and worshiping nature.

You embrace nature and celebrate life in all its glory as well as death and distruction. Is this the process in which you seek your own spiritual and urban equilibrium?

Like a lot of people, I find myself with constant ‘Modern Guilt’, whilst I am aware of the destructive tendencies of mankind I can’t help but find myself being part of it, especially living in a huge city like London. Through my work I am able to have a voice on these issues and hopefully make other think a bit more about their own relationships with the world around them. I think this can be very hard when you live in a city because you tend to become completely oblivious to the natural world around you which is increasingly disappearing under concrete. I think my work is really about atonement, the idea of making amends and acknowledging our failures to the planet. It is about worshiping the Earth that created us and having harmony with our surroundings. It is important for me to be at one with nature and to have a connection which I feel I can have through my work.

When did the fascination with diverse religions and symbolism captured your imagination? And do you come from a religious background?

It all started about five years ago when I came across a book on African art, learning about African cultures and beliefs completely opened my eyes to the fascinating world of ethnography. I soon started researching different cultures, religions and occult practices which all had fascinating ideas as well as incredible costumes and ceremonial objects. I love the symbolic references that religions and cultures apply to animals and other materials in nature. This lead me to start appreciating materials in a whole new way. The symbolic meanings in the materials I use add another dimension to the work and over time it has become the forefront of my practice.

I do not come from a religious background at all. I am incredibly lucky to have great parents who have always encouraged me to follow my own paths and beliefs.

Do you have your own studio and facilities and how do you overcome technical dilemmas in order to achieve perfect aesthetics in your work?

Technical dilemmas usual occur at the last moment just before exhibition installations. You can have work sitting in the studio for months with no issues, then as soon as you take it out of that space things start to go wrong. I find the best way to deal with this is to have a minute of rage (heavy cursing) then once it’s out of your system you can start to think logically about the situation. I always expect things to go wrong so when they do it’s not as stressful.

I have had a studio at Arthub in Deptford for two years now. Arthub has a number of facilities over their three sites allowing artists to work in ceramics, printing, wood work and photography.

Did collaboration with 139 Artspace bring anything new to your art.

Collaborating with 139 gave me the motivation to complete the piece on show.

I started the work 3 years ago but after moving studio the work was damaged and I lost the motivation to complete it a second time. I knew that the piece would work perfectly in the 139 space which motivated me to finally finish it.

Showing in a window space allowed my work to be seen by a much wider audience. People who would not usually visit a gallery were able to stop for a moment to view my art which was really nice.

Vianney Clausse / Everybody needs the sun


Dear Friends,


Happy New Year to you all! We’re excited that our first exhibition of Art this year will be Vianney Clausse. You can see more of their work here. Please come along on 16th January to celebrate with us.

Also, follow this blog for an interview soon.

Love all round.


139 Team




About the Artist

I am a 27 years old french multidisciplinary artist working mainly with the clay material in both visual art and craft fields.
(If any borders would be traced).

Essentially based on a 7 years learning process of chinese calligraphy from my early adolescence, my aestheticism followed then its footsteps by developing an abstract language with personal experiences and more largely Western societies codes.

Gradually structured on several mediums according to uneven financial possibilities, this language intuitively built to get its final complexity, turned to be very busy.

Really recently, thanks to several travels in Mexico and South America and helped by the clay’s work, I started to colour more and more intensively my artworks, while missing so much the daily light along my Winter’s times in Quebec.

This artwork is one of my answer to this recent life’s experience, capitalizing as well, the artist’s insecurity with the use of humble materials originally dedicated for kids.

By extension, I hope it highlights the benefit of networking and bring people closer, because this work has been visually very inspired by drawing with a friend, artist and mainly




Aki Moriuchi / Off the Beaten Path


You are talking about the notion of time, growing, imperfection,  fluidity.  Do those aspects come from your close relationship with Native Americans?

I can only say that my attitude towards life and thought widened after I got to know about a certain Native American world.   Though it happened unexpectedly, I learned many things by travelling on their lands with the help of Native American friends, and on my own. I also learned from their everyday life, by sitting at the kitchen table, eating together and so on.  One time I set myself a personal project and wrote out interviews with more than 30 Native American people, some famous, some not and of all ages from different reservations. I compiled these as Collecting  Voices .   All the experiences helped me think and see things from a different perspective than before.

Can you please expand on the process of layering which would appear to be present in both your ceramics and painting practice?

For ceramics, I created layers of surface by the repeated process of multi-glazing, multi-firing with sandblasting between and after firings – sometimes as many as 5-6 times.  While I developed the technique and though my work is in a much tinier scale in comparison, I realised it mirrored Nature’s process of weathering that I took special notice of in my travels.  Fragile, yet surviving to show its strata after a long period of time, weathered surfaces on rocks and stones always attracted me.

Later, when I started painting, I was a blank canvas myself, and intended to be free from any preconceived ideas or even from any of my previous experience in ceramics.   It took some time before I realised that I was layering paints over and over again, often scraping off, sanding off and applying another paints on top of already applied layers.  The process usually looks like nothing

but messy trial and error, until I come to the moment of  ‘this may be it! ‘ (Only if it comes!!)

The final surface may bury almost all that’s underneath, however, through uneven paints or scoured surfaces, sometimes revealing history.

Layers to me, means passage of time.

What does “landscape” mean to you?

Landscape to me is not only the one you can simply see, but rather a spatial extent in mind.

This concept came after my own experience of walking and driving through

huge tracts of lands over the years, when I visited remote historical sites as well as

natural wilderness.   It is not vacant.   Landscape gives me a sense of belonging to a certain

space and connection with people of past and present.

I also hope my landscape will connect to your own landscape.  Everybody should have their own internal landscape.

Did  collaboration with 139 Artspace bring anything new to your art?

It was such a great and refreshing experience – different from any other exhibitions I have ever participated in!

Planning to install the works was hard to imagine in my studio until the very last minute of  bringing the pieces  in, but once I was in the 139 window, I found myself enjoying doing it.  When I finished and looked at the window from outside in an early December dusk, my window installation of  ‘PATH OF MY OWN TIME AND SPACE’  also reflected  houses across the road.  All became one image.   It was surreal.  Most of my pieces were inspired by landscapes far from England, (I have devoted feelings to each place), but the London landscape fit in perfectly.  Gaps of time and space were gone.  It was a magical moment.

What is my art?  I often wonder.  What do I want to do with art?

If an artist sells lots of work, does it mean it is good art or she or he is a good artist?

There might be different answers to the questions, and I am not arguing here.  However, I would like to believe my art is not merely a commodity.   While I was in the middle of installing, two passing men stopped and gestured thumbs up to show that they liked it.  We smiled at each other.

I loved that moment.

I was searching for somebody who could speak the same  ‘ART LANGUAGE’ with me , and

I found them at 139 Atspace .

Thank you!

(Copyright by Aki Moriuchi)

interviewed by Marketa Senkyrikova





The works shown here are fragments of memories and findings, of my personal journey through landscapes, both urban and in Nature.

Each piece is unbound but collaged to connect together to give a sense of freedom and openness as a whole.  They are incomplete, growing, imperfect, fluid…much like life itself.

(Installation with loose and stretched canvas, paper, found object -mixed media with oil, pigments, marble dust, sand, plaster, oil bar, charcoal and others)



About the artist

Born in Tokyo, Japan, Aki Moriuchi came to London via Siberia in the 1970’s travelling around Europe before reaching the U.K.  It included a short stay in both East and West Germany, during which time the Berlin Wall still existed.  She has lived in the U.K. since then.

She started her career in 1992 as a potter/ceramicist after completing two ceramic courses in London.  She was selected in 1993 as a Fellow of the Craft Potters Association of Britain (CPA) and a full member of Contemporary Applied Arts (CAA).

Her ceramics were distinctively recognisable by their weathered surfaces resembling old stones and rock formations.  They are in many public and private collections in the U.K. and worldwide including Victoria and Albert Museum, London.

Having developed a strong interest in Native American life around 1995, she attended the MA Native American Studies in 1998 and 1999 at the University of Essex.  She travelled extensively around Native American reservations and the surrounding areas in the USA and Canada over two decades, visiting numerous historically significant sites, many of which are located in remote areas away from ordinary tourist routes.

Her perception of time, space and Nature which had inherently been there as a Japanese, was further reinforced by developing a relationship with the Native American people and landscapes, and continues to inspire her work to this day.

In 2003, she moved from London to Cornwall but returned to London 4 years later, boldly ending her long established ceramic career which was still flourishing at the time.

Changing media from clay to paint happened unexpectedly, but she is finding that paint, like clay, can create certain surfaces and textures, similarly tactile in both works.

They all reflect the slow but gradual passage of time.

She currently works in a studio in Hackney Wick, and also helps as a volunteer in an art class in North London for people with disabilities.