Down a winding farm track near the historic village of Robertsbridge in East Sussex, lies an unusual gallery …
Behind the black timber doors subversive artwork vividly confronts the curious eye.
Brainchild of curator Kenton Lowe, this little gem of a gallery is not about to show a handful of
twee watercolours depicting local scenery, flora and churches—just yet! As writer Richard Best spoke
of Kenton’s genuinely surprising choices of protagonist that have delivered a ‘plethora of provocative
art works’ … Julia Andrews-Clifford’s current show is no exception.
There has always been something subversive about photomontage—from Dadaists George Grosz and the
Berlin Club polemicizing the medium with scalpel sharp attacks of World War 1, and in 2003 the Chapman
Brothers re-imagining of Goya’s plates from the Disasters of War. Andrews-Clifford is rallying not at war,
but advertising. Particularly the visual trend for ‘porno-chic’ that saturates the pages of contemporary
fashion magazines like i-D, Harpers, Nylon and W Magazine.
Her work, embedded in the zeitgeist, is satiric, and boldly graphic. Julia used to work with the Museum
of Moving Image in New York and also as a film educator at the BFI. It is this background that critically
informs her image-making… She rips, cuts and slices images from vintage magazines which are then
intercut, often with newer pornographic material, before compositing through complex layering techniques
then blown-up to human scale. These anti-ads makes us look again at the imagery that surrounds us,
like ‘Don’t Look Now’, the towering image of a model recumbent on a slab of stone. ‘To me she looked
like a piece of meat so I cut away the skin and layered in images of raw meat; removing also the ‘S’
from the Saint Laurent double spread’.
For international women’s day she enlarged her image to 10 ft x 20 ft, stole out in the middle of the
night with her accomplice and pasted her art work up on a flaking billboard at a major junction. Concurrent
with this there was a huge backlash in Paris to the Saint Laurent campaign and overnight Aint Laurent became
a mission to ban YSL’s degrading posters, where many of the models are seriously underweight.
Unilever has last month launched its first ever ‘Unstereotype Advertising’ campaign, the mission here again
resonates with the artist’s own. ‘I am interested in who is looking at who–whether it is the ‘female gaze’
or the ‘male gaze’ which predominates in advertising, and to particularly reappraise how we view images
of women. Since the Trump inauguration it is interesting to look again at women and their roles; I think we
are headed for another shift in feminism and postmodernism, which we haven’t seen since the late 80s’.
One outcome for this work would be to broaden the palette of gender representation–but /Cut is essentially
about re-humanisation and not commodification and that can only be a positive thing in an increasingly non-
unified and conflicted world order. Guerrilla art and public activism is increasingly necessary to question
the status quo, as it bypasses all channels of media interference, fake news, lies and damn lies that make up
our cultural soup.
The bus shelter takeovers have been taped up by the Police or replaced with the same advertising fodder,
the sort that Banksy commented this week ‘are taking the piss out of you everyday’…
The billboard has subsequently been scrawled with political graffiti–‘VOTE because your worth it’… But
rather than seeing this as destructive to the art work the artist is delighted that the paste-up is perpetuating
the dialogue. ‘We have to give ourselves permission to make these acts of revolt: if not, we might as well
lie down on that slab of stone.'”.
Published on International Times – 3rd July 2017
Out of the Wardrobe by Suzsi Corio has been shortlisted for the National Open Art exhibition at Bargehouse, Oxo Tower, which will be transformed into a contemporary gallery space to showcase a cross-section of the very best British and Irish contemporary art, photography and moving image of 2017.
The 2017 Judges include Royal Academician Hughie O’Donoghue RA, artist Jane McAdam Freud, former NOA winner Kelvin Okafor, gallery director Cynthia Corbett, photographer Zelda Cheatle and filmmakers Elaine Pyke and Adam Saward. All artwork is judged strictly anonymously on talent and results in an exhibition of 100% of the open entries – not one ‘invited’ artist. By entering their work, artists have the chance of winning part of a £60,000 prize fund and being showcased in prestigious exhibitions in London and beyond.
The National Open Art World Art Vote sponsored by MS Amlin is a celebration honouring the democratic nature of the National Open Art Competition, providing the public with the chance to show their appreciation for their favourite work or favourite artist. The public is welcome to engage, browse and support the shortlisted artists by voting for one, or as many of your favourites artists as they wish. The artwork with the most votes will be revealed and exhibited in the 21st National Open Art Exhibition, 17 – 26 November 2017, and in the Winners’ Exhibition at Pallant House Gallery, 5-17 December 2017.
To vote for Out of the Wardrobe by Suzsi Corio go to http://www.nationalopenart.org/gallery2.php?as=1&Out-of-the-wardrobe-20769.
Artsdepot is an award winning cultural hub focused in presenting work, encouraging artistic innovation and supporting artist development. Artsdepot’s annual free exhibition is a celebration of art and artists. The exhibition features work by both emerging and established artists. An expert panel selects the works from an open submission process and the result is a diverse and vibrant exhibition. Many of the artworks selected for this exhibition are available to purchase at affordable prices.
The exhibition will run until the 1st September 2017.
Venue: Apthorp Gallery, 5 Nether Street Tally Ho Corner North Finchley London N12 0GA.
For further information visit: www.artsdepot.co.uk/exhibition/artsdepot-open-2017
Open Spaces is a new Arts centre in the old school house of the Alpine village of Feutersoey, Switzerland. Established in March 2017, Open Spaces hosts long term studios for artists and makers living locally, as well as a residency programme that invites swiss and international artists to the region. The program invites two artists at a time from around the world to work during three months in Feutersoey, providing a high-visibility cultural centre-point for the village and for the region.
Apline Islands is an exhibition opening on the 19th of August at the Open Space Arts Centre that will feature the current artists in residency Cordelia Cembrowicz and Jane Ward, both from London, UK. Permanent studio holders Iris Aroussi, Cenamaximale, and Jessica von Schroder will also be part of the exhibition. The exhibition will run until the 29th of August 2017.
For more information on Open Spaces, the exibition and its artists, visit:
The ArtGemini Prize is a celebration to promote international contemporary art for emerging and established artists around the world. It is an independent competition, open to all artists aged 18 or over from anywhere in the world.
The winners will be announced at an exhibition of the finalists’ works in London.
Th ArtGemini Prize aims to promote creativity and excellence by exhibiting a wide range of challenging works, to help the artists exhibit and sell their works in London, to give the public access to quality and exciting works at affordable prices and, last but not least, to support a selected charity each year.
This year’s 5th edition Judging Panel is formed by Jo Baring, Director/Curator Ingram Collection; Cristina Cellini Antonini, Founder & Co-Director Artrooms; Pamela Kember-Tong, Head of Arts & Learning, Asia House; Sajid Rizvi, Founder & publisher of EAP Group International Media; Dr. Vanessa Champion, Creative Director PhotoX, photo journalist and owner of ARGENTA; Isabel H Langtry, Principal at Hampstead School of Art & Sculpture Artist.
The ArtGemini Prize 2017 exhibition will be at Asia House, London from the 19th – 22nd September.
The second ASC Studios summer open exhibition at the ASC Gallery, following last year’s successful exhibition called “30 Celsius” also at ASC Gallery, will open this Friday evening, the 4th of August.
This year’s successful entries were selected by Paul Carey Kent, arts writer and curator.
Michael Ajerman, Karolina Albricht, Fabio Almeida, Roas Barker, Agnieszka Katz Barlow, Lucie Bennett, Amanda Bracken, Henry Byrne, Jade Chorkularb, Rosalind Davis, Corinna Dean, Dexter Dymoke, Lorraine Fossi, Nigel Grimmer, Caroline Jane Harris, Ann Hulland, Hitomi Kammai, Vicky Kim & Karen Bosy, Silvia Lerin, Rebecca Meanley, Florence Mytum, Sylwia Narbutt, Michaela Nettel, Christina Niederberger, Cheryl Papasian, Monika Jenowein Patyczek, Daniel Rapley, Ana Ruepp, Lucy Smallbone, B Stuven, David Sullivan.
The ASC prize will offer a chosen artist a show in the gallery i 2018. Additional prizes will kindly be supplied by art materials company Pebeo and Atlantis art shop.
Private View: Friday 04 August 2017 6-9pm
Monday 07 August until Wednesday 23 August 2017
Open hours Monday – Friday 10am until 5pm.
ASC Gallery, The Chaplin Centre, Taplow House, Thurlow Street, London, SE17 2DG
ORAN – The 4th edition of the Mediterranean Biennial of Modern Art opened Sunday evening the 2nd of July in Oran, with the participation of 50 Algerian and foreign painters.
This event, which coincides with the celebration of the 55th anniversary of the independance, was held at the Museum of Modern Art in Oran (MAMO), located in downtown Oran. In addition to the painters from different regions of the country, twenty other artists representing Tunisia, Spain, France, Switzerland, Turkey, the UK and the United States, are participating to this event said the curator of the biennial, and artist Toufik Ali Chaouche.
This edition, organized under the patronage of the Ministry of Culture and the wilaya, was arranged by the association “Civ-oeil” of Oran.
Works by artists who were not able to travel to Oran are also exhibited within the framework of this biennale. They were artists from Syria, Egypt, Lebanon, Morocco, Greece, Italy and Thailand, said Toufik Ali Chaouche.
Three Algerian artists participated as guests of honor. They are Zineb Sedira, who came from London, Mustapha Nedjai from Algiers and Mustapha Ghedjtati from Sétif.
This edition, which will ran until th 31st July, will allow participants to meet the public and to encourage exchanges of information and experience among professionals of modern art.
The exhibits included paintings, watercolors, sculptures, artistic montages, photographs, video productions and design works, all of which dealt with the theme “Exile and exodus”, which was the theme of this edition. The curator of the biennial explained that the theme chosen was topical because it is linked to wars, conflicts, natural disasters and other reasons that push men to collective migrations sometimes at the cost of their lives. In parallel with the exhibition, conferences were scheduled by specialists dealing with contemporary art disciplines.
As a teenager, I studied acting for 6 years. While researching my much-loved Russian literature for interesting monologues, I fell in love with novelist Fyodor Dostoyevsky. Dostoyevsky explores human psychology, and as for an actor, his work was perfect for role preparation. I didn’t know then that this exploration of psychology and character drive the way I approach print design and illustration.
When I started studying Textile Design at Central Saint Martins, I instinctively knew that Print would be pathway of my choice. Freedom of expression and immediate transition between hand and paper were qualities I was drawn to. There was just one small problem. I had never been taught how to draw. In order to move forward, I started to draw couple hours a day, every day. I quickly realized that instead of being interested in drawing the common print motifs of flowers or objects, I was particularly drawn to portraiture. I spent most of my degree researching old archives, photographs and exhibitions showcasing human’s stories and characters. I started to study people and psychologically analyse them just like I would analyse literature for role preparation. The only difference was that the outcome now was expressed on paper.
I then realised that main focus of my work would always remain in emotions, especially difficult and hidden ones. As a print designer, I needed to explore more design possibilities like repeat pattern making, but I still wasn’t interested in traditional approach. I decided instead to take apart my portraits, and use selected elements, like the patterns of garments people in my portraits were wearing, to achieve a repeated print. Even these repeated patterns must remain expressive.
Initially I was confused whether I was a print designer or artist because of the uncontrolled nature of my work. I started to wonder how I could translate my illustrations into print design. I looked up vintage prints of Finnish company Marimekko. Their bold and big conversational prints with loose and free print placement inspired me to produce my longest screen-printed sample using stencils and 9 different screens. Though at the end of this process I still returned to screen-printing portraits. Through this experience, I found my print designer approach: visual representation of characters/portraits mixed with patterns designed in a storytelling way. I developed deeper into the possibilities of emotional portraits with a visual exploration of my personal dreams and nightmares in my graduate print project: ‘Still Life Nightmares’. My dream journal offered an unfolding self portrait that inspired paintings and related 3D models. The 3D elements combined to create a ‘dream set.’ In this project, patterns mixed with portraits and figurative drawings. High contrast materials such as matte neoprene and hyper shiny glitter and foil expressed the vividness of my dreams. As the portrait expanded into a dream landscape, textile design gave way to set design. The influences of my practices came together.
I realized that the way I approach print design is not necessarily the same way as commercial textile industry does. In fast fashion, most of the print can feel homogeneous with the digital editing of Photoshop and Illustrator. It sometimes feels like there is not much difference between graphic designers and print designers. I started to wonder where would I see myself in that reality. Mainly through Instagram I found freelance illustrators like Donald Robertson or Alina Zamanova who illustrate with hand drawn qualities, which are then mass printed, on the clothes and other commercial items. I realized that this approach could be suitable for me as it allows maintaining the originality and emotional integrity of artwork but translating this to product; letting my work evolve in the personal and unique ways that are most fitting to me.
I stay open minded about future possibilities of my creative practice like set design. After graduation, I assisted with set design for Vogue Italia and CR Fashion Book. Looking up set designers who are also illustrators like Gary Card gave me confidence to think about myself as multidisciplinary artist and designer. Freelance print and illustration is something I want to definitely explore next.
Miguel Sopena’s painting ‘The Valencia Series: The Old Town I’ (acrylic on linen, 92x73cm) has been selected to feature at the Lovely Gallery Open 2017 group exhibition. The Valencia series is inspired by Miguel’s home town of Valencia, in Eastern Spain. Miguel has explained that the series is ‘a free interpretation (rather than a literal translation) of the sights, sounds and textures of the town’ and that he only works on the series when he is physically in the city, since, as he explains, ‘the connection between the source material and the work suffers when I am back in my usual working environment in London’.
Miguel is a theoretical physicist who changed direction to train as a classically trained figurative painter but has recently developed an abstract and semi-abstract strand of work inspired by themes such as memory, identity, a response to the immediate environment, and a dialogue with the painting materials themselves. Miguel grew up in Valencia but is now based in London. His work, CV and contact and other information can be found on his website, www.miguelsopenaarts.com. The Lovely Gallery (www.thelovelygallery.com) is located at 140 Sydenham Road, SE26 5JZ in South London and exhibition hours are Thursday-Sunday 12-6pm. The Open 2017 exhibition runs 6-16 July.
Hallidonto was recently invited to take part in a technical demonstration of Googletilt, an innovative virtual reality drawing software package.
By using his continuous line technique, he created a visual representation of a cyborg which was then transformed into a sculpture using the latest 3D printing technology. Hallidonto is in talks to bring my upcoming “Birth of a Cyborg” project in collaboration with Virtual Futures and Hobs Studio’s . Hob’s studios is the largest 3D printing bureau in the UK, Hob’s are proud to continue their tradition of collaborating with innovative artists, having previously worked with Grayson Perry and Antony Gormley. Virtual Futures Salon, a loose collective of artists, writers, cultural theorists, technological entrepreneurs, philosophers and filmmakers who meet at regular events to share their work and insights through a techno -philosophical lens
Hallidonto is presenting this project brief on Thursday 13th July at the Austrian Cultural Center. As I am looking for funding and potential gallery collaborators for the project. The image is the first the prototype Drawing-sculpture I did for a tech demo at Hobs Studios, this piece was featured at my recent solo exhibition at Joseph Fine Art. The links below are Hallidonto in action using Google tilt and Hob’s Studio.
My upcoming VR project:
My Hob’s studio tec demo and VR drawing into 3D print: