“Down deep, the fish are more powerful and more pure.They’re huge and abstract. And they’re very beautiful.” (David Lynch)
I am fascinated by the contemporary aesthetics of so-called ice fishing, where you can see a man sitting above a hole in the ice having just a piece of plastic wrapped around him. Fishermen also use tiny houses of various shapes and colours attached to their skis or brought directly on the frozen lake. Despite some bizarreness of this activity, in me it evokes a certain need for a meditative state. I’m also attracted by Inuit culture, their attitude to life, their pure and simple sense of being that we try to understand in civilized countries. The desire to get through the ice and find great fish connects all cultures.
In his work he primarily specializes in the identity of the place, the relationship between the town and countryside, nature and civilization and nomadism. Looking for some meditative aspect and duality in human activity. His work naturally balances on the border between the traditional concept of sculpture, installation and architecture. The used form and material often refer to the archetypal tradition of engineering, as well as to the most elementary building types or the issue of interruption of the natural dialogue between architecture and sculpture.
is a musician who compose not only guitar songs, which are based on her lyrics, but she also work with electronic sound.
As part of the opening, she is going to prepare a song called Below The Ice, based on partial improvisation
The geomorphs are hand-printed sculptures that mimic the 3D printing technique using industrial silicone. The shape is not given in advance but is deeply linked with the process, consisting of a succession of silicone layers, each one drawn on top of the other. Thereby the sculpture has been growing, almost like a plant or a fungus.
The project is turning the transcendental and mechanical process of 3d printing into an immanent and emergent phenomenon that makes the sculptures almost look like natural.
Born on 29/02/1988, live and works in Paris.
My proposals are constructed as scientific experiments, with the difference that the result has nothing to prove, but rather seeks to show and explore a new form or possibility of evolution.
My work summons natural and artificial phenomenons, reusing and diverting the principles they implement.
I use forgery to stimulate the viewer’s intuition of reality, disturbing his or her expectations and perceptions.
I try to make “good fake”, meaning a fake that is exposing itself without lies, tricking people but never for too long, just triggering that brief moment when one begin to imagine a different possibility.
“one of the UK’s most captivating performers”
Manick Govinda, artsadmin London
“an amazing performance artist …”
Lois Keidan, Director of the Live Art Development Agency London.
“an iconic performer” Aaron Wright, Director Fierce Festival.
Shaun Caton is one of the UK’s leading, performance artists. In a career spanning 35 years he has performed at many galleries and museums worldwide. In May 2019 he will perform, il giardino grottesco at the Venice Biennale.
At 139artspace Greenwich, he will use the former shop window to create a mysterious performance that unfolds over time, presenting miniature wunderkammers (cabinets of curiosity) and their metamorphic contents to the scrutiny of passersby. He will make tiny drawings of objects inside the cabinets, on found paper and display them within the cabinets and on his person. Using wire and painted, cardboard cut-out totems, people will be encouraged to project light from torches onto him to create amazing shadows. He will use battery powered magnetic tapes played on analogue cassette players fixed to his body to add atmosphere and ambiance to his performance. The concept of a makeshift, mini-museum within the shop window makes for an unusual and developmental performance project by one of the UK’s leading performers.
Barbora’s current body of work ‘At Arm’s Length’ is a personal visual story where she explores themes of intimacy and connection, through collaboration and confrontation in front of and behind the camera.
By taking pictures of both strangers and friends Barbora depicts different forms of intimacy built upon different levels of intensity shared with her subjects. Still-life and portraiture are combined to question the authenticity of intimacy.
‘I have worked to explore the relationship between the subject and the photographer while questioning the authenticity of intimacy that occurs within such an encounter. My artistic intention to portray different levels of intimacy within photography: I.e. intimacy shared with close (familiar) and distant (unfamiliar) subjects. My aim is to show that intimacy as a concept can occur in front of the camera instantly, regardless of what the relationship between the photographer and their subject is. The work At Arm’s Length, is thus my interpretation of intimacy based on my mutual experience with friends and acquaintances.’
Time//process ; giving birth to a project becomes a meeting that wants to create another one.
139 Artspace offers to artists a window-space where to show art to the street 24/7.
4 different poetics, stories and processes which met during the time trying to offer reflections about the courses, about growth, changes, the vital process of connecting in different ways.
The story written by obstacles and walks told from different points of view, by artists which had chosen to work together for that occasion using different mediums, foto,sculpture,performance.
Showing in the window:
Under glass / for two months till to the 27th of july artworks by Maria Claudia Farina, Marco Ciuffetta, Franko B and Sara Ciuffetta.
Holder of a degree in architecture, with a passion for models and utopic cities, through her work Juliette Rault puts on a miniature stage made-up stories about our relationship with religion, popular icons, death, sex and injustices of the world.
Very dramatic, these dioramas deal with serious topics with poetry, humor and false naivety – to better sugar the pill.
For her 139 art space exhibit, she decided to ”get out of her little boxes” to occupy the big case. A transition. Her last stay in London inspired the creation of ”White Riot”, in reference to a Clash song. This immaculate white installation seems very peaceful and discreet at first, but explodes at night.
In London, the artist was seduced by the gap, the crack between the official British society and the profuse alternative culture, which seems to approach some freedom. Freedom of expression, at least.
This counterculture is bubbling under the eye of the Queen, world icon, mother figure, both omnipresent and ghost-like, stuck in her official (ceremonial) role. To a little French girl, this role looks both obsolete and very mysterious.