Thus, please participate in the European elections 2019.
These EU elections (23rd – 26th May 2019; in Germany: 26th May 2019) will set the course for the future of European nations and the European Union.
Basic decisions will be made in the following 5 years… Considering the dispute about the future scope of cooperation within the EU covering topics like: trade & customs union, freedom of movement, inclusion in terms of common social standards & workers rights, joint foreign policy, harmonized asylum / migration policy, EU armed forces, tax law, joint R&D and digital transformation, climate change issues, further EU East expansion etc., everybody should participate. Europe matters.
Of course, the EU needs to be reformed asap. Do you really want stakeholders to do it, you cannot support?
Even in the event that you want an EU exit, you have to vote. Fastest way to destroy the EU is to foster a Dexit, by the way. Maybe, a complete liquidation of the EU will provide the opportunity to create a better EU version, who knows? Okay, I do not want to become polemic and speculative. Whatever you prefer, vote!
Facing growing extremism, nationalism and emotional tensions between EU-hostile right-wing and left-wing parties like a “tug of war” across Europe, everybody has to show his/her colors in my view. Otherwise, non-voters should be silent and should not complain anymore.
Now that the question of European “unity” is debatable, the red line between reality and satire becomes even thinner. Exactly this “core of truth” is the reason why Yanko`s maps are so funny.
In my view, it would make sense to add China`s perspective. I already thought about the idea to do this job on my own. A dialogue with my Chinese colleagues to exchamge prejudices in a friendly atmosphere might be fun… And what`s about India` s view on Europe?
The official stereotype lab of Yanko Tsvetkov, a bestselling author, prolific cartographer, and leading international bigotry professional with a taste for salacious political incorrectness and unconventional historical studies. Opinions are not his own, he’s merely a curator …..According to himself.
Please, have a look at international bestseller “The “Atlas of Prejudice” by Yankov too if you are interested in more stereotypes: https://atlasofprejudice.com/
When I came across David Hollanders awesome work the first time, I thought the “classy” terracotta-colored body fragments with cracks or completely broken bodies might be archaeological findings…Despite of being damaged and broken, they outlast time and become gracefully an integral part of their surroundings – like the beautiful horse heads.
Frankly speaking, a few art pieces – in particular sculptures of the series “Hands” – are a bit scary in my view. I felt unconfortable looking at them. Please, feel free to visit his website to gain your own impression. In fact, these hands (that seem to burnt or hurt) or other body parts remind me on the forensic medicine lectures a took, when I was a student. I also thought of grave goods, but maybe I am off the track.
Well, I guess art shall communicate with the viewer, provide food for thoughts and in a best case scenario, arts shall also trigger emotions. Thus,….well done, David.
ABOUT THE ARTIST
David Hollander is an US American sculptor, who lives in Colorado close to the Rocky Mountains. He spent a year and a half living and traveling through Dublin, Bologna, Lecce, Rome, Crete, Paris, Abu Dhabi, Istanbul. David has also lived and sculpted in Sydney, Australia and Seattle, Washington.
He is an MFA candidate in Ceramics at Cranbrook Academy of Art in Bloomfield Hills, Michigan and showcased his art pieces at various notable international exhibitions. His work is part of different private collections. Furthermore, David Hollander has created various public installations in the States, Canada, Australia and Europe.
MFA Candidate, Cranbrook Academy of Art, Bloomfield Hills, MI, 2019.
BA, Cum Laude, Ceramic Arts, Minor in Physics, University of Colorado, Boulder, 2002.
Exchange, University of New South Wales, Sydney Australia, 1999-2000.
His Residencies and Fellowships
Fellowship Recipient, Resident Artist, La Macina di San Cresci, Greve, Italy, 2012.
Resident Artist, Paese dei Balocchi, Bologna, Italy, 2010.
Resident Artist, Pottery Northwest, Seattle WA, USA, 2004-2006.
His Teaching, Lectures, Publications
“Contemporary Clay Shapers 2: Thinking Through Material” Monthly Ceramic Art, South Korea, July 2018, Vol. 268.
Teaching Artist at Cranbrook Art Museum Create Camps, Bloomfield Hills MI, 2018.
Visiting Artist Lecture, Zayed University, Abu Dhabi, United Arab Emirates, 2010.
Sculpture Instructor at Kirkland Art Center, Kirkland WA, USA, 2009.
Sculpture Instructor at Pottery Northwest, Seattle WA, USA, 2006-2009.
For further information, David Hollander can be reached at email@example.com
Graffiti has been known in Italy since the ancient Romans, who decorated the walls of Pompeii and the catacomb with declarations of love, curses and magic spells. In fact the word ‘Graffiti’ derives from the Italian word ‘graffiare’ meaning to scratch something into a surface, and people in Italy still write their passions on the walls.
Though lately – it seems to me – subject matters have changed from ‘Ti amo’ and ‘Forza La Juve’ to political statements. Could be, that graffiti in Italy has gone from personal to political in order to reflect the current economic crisis and migrants crisis.
Powerful, they seem to slowly intrude into the space – owning it soon. The wooden sculptures make their way. No one seem to be able to stop them. Even if they burst, crack and splinter due to the high pressure and force that drives them, they move forward. The sculptures grow organically like cancer and join forces with other branches. Doors or entrance halls are too small to manage the expanding wooden bodies. On first sight, the growth or dynamic seem to be chaotic but on 2nd sight you will discover that they inconsiderately target the same direction / destination that they will destroy and transform because of their sheer mass & nature.
Walls cannot impede them.
ABOUT THE ARTIST
Hailing from São Paulo, Brazil, Henrique Oliveira is an award-winning artist that has exhibited his work around the world. Born in 1973, Oliveira received his BFA and Masters in Visual Poetics from the University of São Paulo.
While Henrique is also well-known for his paintings, this post focuses on his incredible wooden sculptures and installations. Using a combination of reclaimed plywood, fencing and PVC, Oliveira creates organic wooden sculptures that have a movement and flow that makes them feel liquid.
Oliveira’s installations are massive, often overtaking entire rooms and spaces. He first forms his shapes with PVC and then meticulously wraps it in layers of plywood, stripping away layers to reveal different colours of wood.
Be sure to visit Henrique’sofficial site to see his entire portfolio of work including his paintings and smaller-scale sculptures.
Born in Iisalmi, Finland 1952 | Lives and works in Helsinki, Finland.
Kaarina Kaikkonen, one of our most internationally recognized sculptors and artists, is known for shaping urban landscapes and emphasizing community through her installations. In her works, one can find references to current themes of humanity’s place in their own time, and of basic needs that always exist regardless of environment or culture. Old clothes contain the former user’s presence, which wraps around Kaikkonen’s story and places the viewer before something new and unknown, but at the same time exceedingly familiar and intimate.
The impressive installations made out of mens’ jackets and shirts are well known both in Finland and globally such as in the US, Cuba, Canada, Japan and Great Britain. Her first installation was on display in Helsinki in 1988. In Finland, one of her most famous works is the ‘Way’ -installation, which she built on the steps of Helsinki Cathedral in 2000. Her pieces can be found in several collections such as the Museum of Contemporary Art Kiasma, Helsinki City Art Museum, and Espoo Museum of Modern Art of EMMA.
Kaikkonen studied at the Finnish Academy of Fine Arts School and was awarded the National Visual Arts Prize in 1989, the Finland Prize of Art in 2001, and in 2013 the Order of the Lion of Finland awarded her Knight, First Class. Kaikkonen has also received international awards such as Public Prize in Den Haag Sculptuur in the Netherlands in 2004 and Honorable Mention at the Cairo 11th Biennale in Egypt in 2009.
Galerie Forsblom has been representing Kaarina Kaikkonen since 2008.
Political art and propaganda has been central to the Islamic Republic’s management of public spaces since the earliest days of the Revolution. Take a 30-minute drive through any area of Tehran and you will doubtless bear witness to half a dozen murals commemorating fallen martyrs of the Iran-Iraq War (1980-1988) or depicting the leaders of the Islamic Revolution. Two famous examples include the ‘Soldiers of the Islamic Revolution’ modernist fresco in Felestin (Palestine) Square, and the massive ‘Down with USA’ mural near Haft-e Tir, which portrays the American flag as a harbinger of war.
A strikingly prominent feature of Iranian public spaces is the prevalence of street art – both officially sanctioned murals and subversive graffiti of artists like Bambam, Oham, Black Hand and others. Whilst the latter can be ingeniously subtle, its social commentary usually ensures its speedy removal. Revolutionary murals often commemorate martyrs of the Iran-Iraq war, or celebrate the political values of the Islamic Republic. Here we feature some of the most fascinating street art in Tehran, Masal and Banda Abbas.