London-based Gonkar Gyatso (b. 1961, Lhasa) creates humorous works informed by both politics and his personal life. “Just as the identity of my homeland cannot be separated from religion and politics, so my own sensibility has been shaped by the undeniable bond between the two.” Gyatso’s practice revolves around the reproduction of Buddhist iconography, calling the Buddha his ‘muse.’ Skillfully incorporating Western and Tibetan cultural themes into his work, Gyatso transforms traditional images of the Buddha into Pop Art-inspired multimedia works that satirize world politics and the mundanity of life. His iconic work titled Pokemon Buddha (2003) marks the first example of what has now become the central theme of his practice; much of his work references the shifts in identity that characterize the life of a migrant.
IRIS VAN HERPEN – Definetely one of my absolute favorite fashion designers, inventors & artists….unfortunately beyond my budget.
Her COUTURE respectively the brilliant pictures of her breath-taking art pieces – taken by MORGAN O`DONOVAN – is pure eye-candy in my view…
ABOUT IRIS VAN HERPEN
IRIS VAN HERPEN is a Dutch fashion designer who is widely recognized as one of fashion’s most talented and forward-thinking creators who continuously pushes the boundaries of fashion design.
Since her first show in 2007 van Herpen has been preoccupied with inventing new forms and methods of sartorial expression by combining the most traditional and the most radical materials and garment construction methods into her unique aesthetic vision.
Van Herpen is often hailed as a pioneer in utilizing 3D printingas a garment construction technique, and as an innovator who is comfortable with using technology as one of the guiding principles in her work because of its sculptural nature and unfamiliar form.
The designer’s intent is to blend the past and the future into a distinct version of the present by fusing technology and traditional Couture craftsmanship.
Her singular vision combined with the complexity of her creations has made van Herpen a fixture on the Paris Haute Couture calendar, where she has shown since January 2011. Additionally, van Herpen’s work has been featured in various notable museum exhibitions.
Because of van Herpen’s interest in multidisciplinary approach to creation that goes beyond fashion, she has often collaborated with various artists such as Jolan van der Wiel and Neri Oxman and architects such as Philip Beesley and Benthem and Crouwel Architects. The designer’s interest in science and technology has led to ongoing conversations with CERN (The European Organization for Nuclear Research) and MIT (Massachusetts Institute of Technology).
Born in 1969, Hildur Bjarnadottir is an Icelandic artist, she graduated from the Icelandic College of Art and Crafts and from the Pratt Institute of Brooklyn specializing in textiles.
She exercises the career of professor at the Iceland Academy of Art and at the Reykjavik School of Visual Art, where she is the director of the textiles department.
She continued doing researches on the subject “The role of textiles in the field of painting” for this project she worked in collaboration with the Bergen Academy of Art.
The artist addresses mostly two main subjects; the nature of textiles and of painting. Her main purpose is to highlight the materials used to create the composotion, their color and their texture. Hildur Bjarnadottir uses embroidery to create her pieces and installations. In order to achieve the desired result, an important previous work is necessary, that is where the artist shows her talents as a draftswoman, painter and watercolorist.
Her work is recognized internationally nowadays and her pieces are displayed in numerous private and public collections, including at the Bomuldsfabriken in Norway, at the Reykjanes Art Museum, at the Nordic House of Iceland, the Scandinavia House of New York and at the Vestyllands Kunstmuseums in Denmark.
If my soul starts spontaneously jubilating looking at a piece of art, I know it is love….I`d like to share.
ABOUT THE ARTIST
Alan LaVern Bean (March 15, 1932 – May 26, 2018) was an American naval officer and naval aviator, aeronautical engineer, test pilot, and NASA astronaut; he was the fourth person to walk on the Moon. He was selected to become an astronaut by NASA in 1963 as part of Astronaut Group 3.
He made his first flight into space aboard Apollo 12, the second manned mission to land on the Moon, at age 37 in November 1969. He made his second and final flight into space on the Skylab 3 mission in 1973, the second manned mission to the Skylab space station. After retiring from the United States Navy in 1975 and NASA in 1981, he pursued his interest in painting, depicting various space-related scenes and documenting his own experiences in space as well as that of his fellow Apollo program astronauts.
Bean said his decision was based on the fact that, in his 18 years as an astronaut, he was fortunate enough to visit worlds and see sights no artist’s eye, past or present, has ever viewed firsthand and he hoped to express these experiences through his art.
Born in Damascus, Syria in 1980, Tammam Azzam received his artistic training from the Faculty of Fine Arts, University of Damascus with a concentration in oil painting. Alongside a successful career as a painter in Syria, Azzam was a prolific graphic designer, an experience that would inform his digital media work after relocating to Dubai with the start of the country’s conflict.
The initial phase of Azzam’s work was distinguished by a ‘hybrid form’ of paintingwith applications of various media that allowed him to arrive at tactile interactions between surface and form that multiply as compositions evolve. These semi-abstract works use unconventional materials such as rope, clothespins, and other found objects in order to accentuate the depth, texture, and space of laboured picture planes, creating a visible tension. Although outwardly different in appearance, the series that resulted from these early experiments were inspired by the artist’s changing perceptions of specific urban environments.
Following the start of the uprising in Syria, Azzam turned to digital media and graphic art to create visual composites of the conflict that resonated with international viewers. These widely distributed works are informed by his interest in the interventionist potential of digital photography and street art as powerful and direct forms of protest that are difficult to suppress. In early 2013, Azzam made worldwide headlines when his Freedom Graffiti print went viral on social media.
Recently, he has returned to painting with Storeys, a series of monumental works on canvas that communicate the magnitude of devastation experienced across his native country through expressionist compositions of destroyed cityscapes. Chronicling the current state of his homeland, Azzam delves into a cathartic exercise of reconstruction, storey by storey. Alongside these new paintings, he has produced a significant body of giclée prints and installations that depict the facets of cities through similar themes.
Yee was born in Kota Kinabalu, Sabah, East Malaysia in 1971 to a New Zealander mother and a Sino-Kadazan father, but has always identified herself as strongly Sabahan. Her multicultural upbringing was also marked by studies at the University of South Australia in Adelaide and at the Central Saint Martin’s School of Art in London, United Kingdom. Today, she resides in Kuala Lumpur, where she has established herself as one of the most influential Malaysian artists of her generation.
Yee is known for her multi-layered digital photocollage series that reference history, popular culture, archives and everyday objects. Her oeuvre engages with issues of culture, power and the role of historical memory in social experience, and often focuses on themes and motifs that reference Borneo’s indigenous cultures.
Erwin Wurm (born 1954) is an Austrian artist born in Bruck an der Mur, Styria, Austria. He currently lives and works in Vienna and Limberg, Austria.
In The Artist Who Swallowed the World, Wurm is quoted as saying: “I am interested in the everyday life. All the materials that surrounded me could be useful, as well as the objects, topics involved in contemporary society. My work speaks about the whole entity of a human being: the physical, the spiritual, the psychological and the political.”
Wurm is known for his humorous approach to formalism. About the use of humor in his work, Wurm says in an interview: “If you approach things with a sense of humor, people immediately assume you’re not to be taken seriously. But I think truths about society and human existence can be approached in different ways. You don’t always have to be deadly serious. Sarcasm and humor can help you see things in a lighter vein.”
Although the images are slightly humorous, they extend or manipulate reality in ways that can be disturbing. Wurm’s work portrays manipulated images of things in everyday life, things that look familiar, but which become distorted. Pieces like Truck, where a truck curves up against the building or Narrow House, a thin, claustrophobic house, take something familiar to all and distort it by enlarging, curving it, or slimming it down. “I will often use humor to seduce people”, admits Wurm. “To get them to move closer, but it’s never very nice when they look closer.”
Wurm’s work is often critical of Western society and the mentality and lifestyle of his childhood during post-World War II Austria. Although Wurm’s sculptures are humorous and ridiculous, they are actually quite serious. His criticism is playful, but should not be confused with kindness. He represents his criticism of objects, such as clothing, furniture, cars, houses, and everyday objects to his audience. Common themes in his work include not only our relationship to banal everyday objects, but also philosophers and life in postwar Austria.
His works consists mainly of video, bronze, wax, sculpture, photography, film, and taxidermy. He has exhibitions that can be seen in Dallas, Chicago, New York, Los Angeles, Germany, Canada, Portugal, Italy, Ecuador, and London.
Tasset was born in Cincinnati, Ohio. He received his BFA from The Art Academy of Cincinnati, and his MFA from The School of the Art Institute of Chicago (1985).
In 1986, 13 pieces of his art were purchased by two New York art dealers at the Chicago Art Expo.Tasset received an Award in Visual Arts along with $15,000 cash in 1989.
He was also awarded the John Simon Guggenheim Fellowship in 2006 and The Louis Comfort Tiffany Award.
He currently resides in Chicago, Illinois and is represented by Kavi Gupta of Chicago and Berlin.
Additionally, Tony Tasset is an art professor at the University of Illinois at Chicago.
1990 born in Kuwait City, Kuwait, he lives and works between his hometown and the USA. Encompassing photography, video and digital media, Abdullah Al Mutairi’s work reflects his interests in identity, gender, religion and technology in the Arabian Gulf as well as the effects of globalisation and corporate or national branding.
Abdullah Al Mutairi is an artist and founding member of the GCC collective.
He has exhibited at Art Dubai, UAE; Mathaf, Qatar; The Serpentine Gallery, UK; and contributed to Hans-Ulrich Obrist and Simon Castets’ ongoing digital natives project 89plus. The GCC collective’s work has been exhibited at MoMA PS1, Fridericianum, New Museum and the Sultan Gallery, among other institutions.
Born in São Gotardo, MG (1974), Janaina lives and works in Sao Paulo.
She graduated in Architecture in 1999 and studied Fine Arts from 2004 to 2007, both in the Federal University of Minas Gerais (UFMG), Brazil.
Her artistic output encompasses her knowledge of architecture, physics and mathematic and her observations about time, to weave her worldview. Her work transits between different scales – from the object to public spaces.
She has shown her work in exhibitions and shows in Sao Paulo, Brasilia, Belo Horizonte, Belem, Paraty, Italy and France, England among other places. She participates in several collections such as Fondation Carmignac, from the BIC collection, Sérgio Carvalho and Graeme W. Briggs.
I guess, I am not the only viewer who associates neuronal networks, blood vessels, plants, roots, fungi, tentacles, aliens…something organic which seeking for something, which growing, which is invasive but also connecting for exchange or bundling forces….
The art pieces are beautiful and can serve as decorative, interior design elements that highlights architectural features.
But at the same time, the installations are also a bit disturbing in my view. Maybe because it seems to be not possible to control or steer their further expansion and dynamics.
On one hand they appear fragile, on the other hand they might be somehow invincible and extremely adapative to change due to their opportunistic, organic growth utilizing their environment even if the conditions are poor.
Admittedly, I have got my very own approach or perspective on Janaina`s arts considering the fact that I have been in trouble during last months due to a series of pulmonary embolisms that won`t be continued hopefully. As you can see, my Haikus (like e.g. “Intensiv Care”) are not just made out of thin air…Of course, I thought of the human anatomy (e.g. lungs & hearts, leg veins) firstly.