JAN15

rasa Dzimidaviciute Olesen

DedeBandaidÀlvar CalvetDinko Hošić

SylviaJaworek

jordirosa

SylviaJaworekStrong contrasts, an expressive technique of painting and the assumed imprecise painted figures let the picture in addition appear alive.

"I often use symbolic elements, humans are going

into a symbiosis with the world of animals. Thereby

the cruelty and seriousness of the statement in the

work is moderated and the paintings appearing

playful with a given infantile easiness."

My artwork basically deals with the theme of the human being. thehuman with all it's mental-emotional impulses and it's developmentsfrom birth to death. I give attention to the framework of the trivialfrom birth to death. I give attention to the framework of the trivialliving environment and to equality with all the normative guidelinesof ethics and in the same time with it's negation. My painting is anartifact of contemplation and a strike to any kind of dogma.

In the early stages I worked predominantly on abstract pictures. Aboutfour years ago my style changed radically. Since then I engage myselfexclusively with figurative painting. Instead of using calm andconservative colors, now the work is more colorful and powerful andconservative colors, now the work is more colorful and powerful andthe stroke of the brush is going wilder and more expressive. Typicalfor my work was always a multilayer technique, which I still use veryoften for spontaneous effects and parts of the figures or otherelements in the painting. The tightrope walk between realism andabstraction is another characteristic attribute of my work. Alreadywithin the representations, very exciting contrasts are developing bypartial abstractions and break ups of realistic images. Many a timepartial abstractions and break ups of realistic images. Many a timethe faces of the figures are ambiguous or not clearly visible whatmakes the painting mysterious and also gives the viewer theopportunity to identify oneself with the pictured person.

Strong contrasts, an expressive technique of painting and the assumedimprecise painted figures let the picture in addition appear alive.The plenty of side by side placed brush marks will be realized alwaysagain differently by the eye as they flicker and seem to move. Myagain differently by the eye as they flicker and seem to move. Mysubjects are often very calm and smooth and seem to be from a firstview very static or even lethargic but through the wild brushwork theygain spiritedness and suspense.

Once just certain sitting positions, postures or portraits have apar-ticularly strong charisma or a unique impression which fascinates and inspires me. This perception of moods, emotions and thoughts, this specific atmosphere i try to reflect to the beholder. Some other time I tell little stories with figures in surreal contexts and satiric presentations with the pictures(e.g. in "Metamorphose, "Bunny", "Badwoman"). Here I often use symbolic elements, humans are going into a symbiosis with the world of animals. Thereby the crugoing into a symbiosis with the world of animals. Thereby the cru-elty and seriousness of the statement in the work is moderated and the paintings appearing playful with a given infantile easiness.

Like no other sphere, art can illustrate topics and aspects - it is agile, free and unforced and leaves enough range for own inter-pretations and at most it opens up always again possibilities of construction. It not just reproduces bare reality, it shows us more and just that is the guiding idea in my paintings. In my creative process, composing happens mostly intuitive and spontaneous and the result is never foreseeable. I always decide during the painting, which step should be done next and what generally gets into thewhich step should be done next and what generally gets into thepicture. It has happened very often that because of compositional thoughts I suddenly overturned my plan. My artistic flow is influ-enced by strong emotions and spontaneity. Inherently I am rather easy and rational but in the studio i act very impulsively and intui-tional. The process of painting is a very important element for me, it functions as an outlet for my emotions and feelings.

Ultimately it's just about one thing when you look at a painting: It has to make "Bang!” :-)

CONTACTwww.sylvia-jaworek.com

www.facebook.com/sylvia.jaworek

P A I N T E R

SylviaJaworek

P A I N T E R

P A I N T E R

SylviaJaworek

P A I N T E R

SylviaJaworek

My artwork basically deals with the theme of the human being. the human with all it's mental-emo-tional impulses and it's developments from birth to death.

My painting is an artifact of contemplation and a strike to any kind of dogma.

P A I N T E R

Rasa’s works are rich in details and her audience is invited to explore the depths, create their own story within the scenario, and freely chose a closure to the story of their own.Rasa Dzimidaviciute Olesen is born and Rasa Dzimidaviciute Olesen is born and

raised in Lithuania under the later Soviet,

where the critical view on the system em-

phasized in art, satire and symbolism.

Perhaps from this point her ways of ex-

pression and view of this world is rooted.

In Kaunas, at the same art school where

she̓s graduated from, she starts teaching

along being the professor of calligraphy at

Vilnius Art Academy in Kaunas.

The work of Rasa Dzimidaviciute is unique The work of Rasa Dzimidaviciute is unique

and original, performing an old technique

to create reliefs. Embracing the possibility

of detailed illustration. No drawings – No

Rasa.

I L L U S T R A T I O N

I L L U S T R A T I O N

I L L U S T R A T I O N

Imagery can be poetic, but ever so often with a hint of humour, irony or sarcasm.Rasa moved to Denmark in 1999, after Rasa moved to Denmark in 1999, after

marrying her Danish husband. Creativity

speaking, arrived a silence before the

storm. But when discovering how to com-

bine the calligraphy of her past with the

imagery and illustrations of her presence

and future, everything united. Imagery

can be poetic, but ever so often with a hint can be poetic, but ever so often with a hint

of humour, irony or sarcasm.

Inspiration to always keep working is her

belief in the fact that all humans have a

relation to the fragility of life; the faith,

hunt for happiness, big and small sins,

love and all the other big questions of life.

Rasa̓s works are rich in details and her au-

dience is invited to explore the depths,

create their own story within the scenario,

and freely chose a closure to the story of

their own.

The last four years, Rasa has exhibited at

several censored art fairs in Denmark and

Germany; also France and Lithuania pin the

map of her exhibitions.

I L L U S T R A T I O N

www.imdede.comwww.facebook.com/im.dede.page

ede

U R B A N T O U R I S T

A self-proclaimed ‘urban tourist’,

Dedestrolls through the dynamic

urban environment, complementing it

with creations that focus on the

absurdity of the urban existence.

Dede is a Tel-Aviv-based conceptual artist who utilizes various mediDede is a Tel-Aviv-based conceptual artist who utilizes various medi-ums to communicate within the public arena. He has been display-ing his art on the streets of Tel-Aviv and other cities worldwide since 2006.

A self-proclaimed ̒urban tourist̓, Dede strolls through the dynamic urban environment, complementing it with creations that focus on the absurdity of the urban existence. Dede̓s creations aim to pro-mote reexamination of personal and societal conventions. His art re-volves around issues of identity, belonging, loneliness, alienation, and the consequent desire to escape reality, either physically or spir-itually.

Dede̓s art presents the viewer with a dilemma and/or its solution in an ironic and complex way. His public creations present citizens with art that is devoid of the mediation and meddling of galleries or cu-rators.

Influences on Dede̓s art include the environment, architecture, art, rhythm, sound, politics, and passersby. It is dependent on impulsive-ness, fate and mood. It is spontaneous and entails unrelated ideas that enmesh to form new content.

The thought, idea and message always arise before the production of the piece, and dictate the chosen medium. The urban landscape is part of the creation process as is the final chosen location. As such, the urban environment serves as Dede̓s home and is used as a backdrop as well as an integral part of his art.

ede

U R B A N T O U R I S T

www.imdede.comwww.facebook.com/im.dede.page

ede

U R B A N T O U R I S T

M U L T I D I S C I P L I N A R Y A R T I S T

Presentation: Josep Poblet i Tous. President of the Diputació de Tarragona, Spain.

The nocturnal reference that Àlvar Calvet gives this exhibition is somewhat sur-prising, given that we will not encounter any of the darkness of fear which the word nix might suggest. Nix is a Greek word and refers to the night, but it is worth remembering that the night is also a time of reflection, of calm, of inner maturity yet this is the last sensation that visitors, at least, will discover in theparticular works in this exhibition, and in all his work in general. It is an inner reflexion which bursts forth, in the full light of day, with a rich and vast crea-tive work.

A work which, throughout its solid trajectory, he has shared with marginalised groups in society both consciously and unconsciously, in the sphere of immi-gration or prostitution to quote just a couple of them. In this exhibition, thoseaccompanying him in the experience are blind; to carry out part of his produc-tion, he has proposed a task which we could relate to the world of research, creating work spaces in which the artists become blind and the blindbecome artists. In the work of Calvet, winner of the 38th Tapiró Painting Prize of the 2012 Art Biennial of this Diputació, there is plenty of creativity and spontaneity, but also reflection, technique, knowledge of the subject matter, and academic training. It is not for nothing that he is a Lecturer in Pictorial Procedures at the School of Art and Design of the Diputació, where he teaches students and learns from them.

M U L T I D I S C I P L I N A R Y A R T I S T

Nyx, an experiment with the invisible [Pilar Bonet]

It is certainly an enigmatic word: Nyx. A term which the artist Alvar Calvet uses It is certainly an enigmatic word: Nyx. A term which the artist Alvar Calvet uses as a statement to bring together and exhibit his latest works at the Modern Art Museum of the Diputació of Tarragona. Works produced at different times which coincide in exploring the outside of the image, those unknown areas that have always characterised his unique art works. This three-letter word responds to a mythological code: in our culture Nyx is the essential goddess of the night, the figure of those who inhabit the darkness and are deprived oflight moves through subtle areas of vision. Specifically, the works presented light moves through subtle areas of vision. Specifically, the works presented here pass through worlds not accessible to the retina, they are an experience of the invisible and of blindness. Also the iconic potential of the soul beyond what the eyes can see.

Walking through the exhibition halls, visitors can enjoy the process of his work, contemplating his work not as an isolated event but as an archive of documents. The artist, away from the creative solipsism of the workshop,seeks the guidance of others, shares experiences and records the process as a seeks the guidance of others, shares experiences and records the process as a form of knowledge on what is essential for art and for people too: vision, andlight as a fundamental medium for this experience. The same light in the brush-strokes that constructs his paintings, or the light that makes photography possi-ble.

In this exhibition, through the various projects, one can easily highlight three fundamental traits of Alvar Calvet: a restless explorer of art and vision, alwayswith an impeccable technique; a social artist who seeks collaboration and learn-ing through exchange; a crossover creator, in constant exile from the territories of art that are too comfortable. A painter who knows how to experiment beyond the painted surface, who always starts with the essential image, for example a line, to explore the outside of the pictorial event as an aestheticgesture or as a visual experience. A creator who works in collaboration, with many hands and towards unexpected outcomes. He is also an artist who diso-beys all hegemony in painting in order to research other iconographic processes, formats and media without ever being an artist who fully identifies himself with the context of art. Alvar is a painter who is concerned about understanding art as a cognitive and at the same time emotional exercise.

The exhibition is an excellent collection of works. All selected within a specific theme: the projects which explore blindness, the alternative to sight. A line ofenquiry he embarked upon in 1997, concerned about the effect of light not only as a pictorial procedure but also as a code of sight. In 6 línies cegues (6 blind lines) (2014), the artist puts on a blindfold and paints by trusting in a guide, feeling his way. An exploration similar to the conflict José Saramago defines in Blindness, an altered state of vision (white blindness) which forcesus to rely on others when we have lost our senses. In a similar mission, in an us to rely on others when we have lost our senses. In a similar mission, in an attempt to understand the effect of blindness, Alvar invites other artists to pro-duce a self portrait of themselves blindfolded, and this Autoretrat col·lectiu: 60 artistes com a cecs (Collective self portrait: 60 artists as blind people) (2013) is the result of a brief yet intense experience on the difficulty in channellingthe memory of sight to the hand of the blind artist. The video records the ac-tions of the artists, their difficulties in controlling the brushstrokes and perceiv-ing their own physiognomy in the darkness.

As a social producer of art, Alvar motivates others to paint and to feel the world of the blind by writing a combined visual collection of poems. As an an-thropologist would, he produces documented registers on the polarityof this experience: the blind see mentally, whereas the sighted remember visual characteristics. So, while the works are being produced, the artist exhib-its a book written in Braille which serves as an archive of questions and an-swers, interviews with the blind on their visual experiences. In this work, Les preguntes i el llibre (The questions and the book) (2011), there is a question which summarises the entire exercise: “What is your dream?” A statement of great power, an attempt to relate the image of the impossible, of desire and its transfer to a verbal and visual exercise.

M U L T I D I S C I P L I N A R Y A R T I S T

On the other hand, in the process of Interació a 6 mans (6 hand in-teraction) (2014), the artist requests the collaboration of two blind people to paintsomething between them based on touch. In this work, blindness is not longer a physical disability and becomes another means of relat-ing and communicating. This initiative resulted in a video and 4 por-traits produced with a marker pen, of which a copy was made using a touch system for the blind on microcapsule paper.

In the Saramago novel, blindness is a plague that devastates a community, and gradually affects an entire country. He uses the metaphor of the blind to speak of selfishness and evil as veritable human shortcomings, a parable of today̓s evils which transcends the significance of blindness beyond a mere physical disability. Experimenting with blindness, not seeing, does not lead us to paranormal experiences, but absolutely normal ones which, when shared, stimulates our ability to exchange. For Alvar Calvet, in a visual narrative,the light and the blind speak of an experience which comforts us in proximity the light and the blind speak of an experience which comforts us in proximity and affection, in the sharing of experiences and in our desire to be more aware of the nature and circumstances of people who are a part of our com-munity.

Now the image, verbalised or drawn, is no longer the result of certainty and an aesthetic purity and has become, in a flash, something ambiguous, fragile and powerful. The works question the authorship of art works and the primacy of sight. A template of our true capacity to maintain our dignity, as Saramago says.

M U L T I D I S C I P L I N A R Y A R T I S T

CONTACTÀlvar Calvet

www.facebook.com/pages/Àlvar-Calvet/195105913862782

www.diputaciodetarragona.cat/ca/noticies/lartista-plastic-alvar-calvet-reflexiona-sobre-linvisible-i-la-ceguesa-en-una-exposicio-al

Dinko HošićDinko HošićBihacBosnia / Herzegovina

Sarajevo Academy of Fine ArtsAcademy of Art [Banja Luka]

dinkohosic@gmail.comwww.facebook.com/pages/Dinko/785904614834604www.facebook.com/pages/Dinko/785904614834604

C O N C E P T U A L A R T

Dinko Hošić

C O N C E P T U A L A R T

Dinko Hošić

C O N C E P T U A L A R T

Dinko HošićDinko HošićBihacBosnia / Herzegovina

Sarajevo Academy of Fine ArtsAcademy of Art [Banja Luka]

dinkohosic@gmail.comwww.facebook.com/pages/Dinko/785904614834604www.facebook.com/pages/Dinko/785904614834604

C O N C E P T U A L A R T

Evulvia reminds of a videogame or a virtual pet container, but it is not. It̓s a closed ecosys-tem in which the only thing affecting its inhab-itants after being born are the socio-economi-cal conditions of the country where it̓s born and where it is living, along with the interac-tion with other Evulvians.

Evulvia is a virtual world populated by artificial beings called Evulvians. Accessed on evulvia.net. Any user is in charge of g̒iving birth̓ to new Evulvians and should decide in which country the new being is being born – geographically Evulvia is equal to our planet. The life of each Evulvian is highly in-fluenced by the country it is born, using real indicators of ex-actly this country, to calculate how its health is evolving, along with everyday economy. The aspect of each Evulvian, when created by a user, is also determined by the richness or poverty in the country it̓s born; the geometrical composition along with colors of the forms depend of these parameters (and a bit by randomness).

We can see which values have each of the Evulvians of health, economics and love. These parameters varies from day to day, depending on the real values of the country they are born in and from the country of residence and of the Evulvi-ans crossing its road; now that they are moving around the world searching for other Evulvians. When finding other beings with which it has some compatibility, they influence each other and can reach the state of recreation, making new each other and can reach the state of recreation, making new Evulvians inheriting physical features and parameters of their parents, along with those of the country where they are born.

jordirosa

E V O L U T I O N A R Y A R T

jordirosa

...death

E V O L U T I O N A R Y A R T

...death

Evulvia reminds of a videogame or a virtual pet container, but it is not. It̓s a closed ecosystem in which the only thing affecting its inhabitants after being born are the socio-economical condi-tions of the country where it̓s born and where it is living, along with the interaction with other Evulvians. Creating other Evulvians is the only possible interaction with the users. The users possible interaction with the users. The users have no capacity to change (for better or worse) the life of the Evulvians they created. On the website the users can consult where and how is each Evulvian this very moment and read the history of each inhabitant, if they lost or gained money or health, if they fell in love and with who.who.

In this project I wanted to explore my capacity to create an autonomous system, managing the lives of virtual beings. I love the idea of creating the norms and the system governing a world and its inhabitants, get it going and watch how each inhabitant reach to have a proper history, as if it was a giant fishbowl in which I can see how the fishes live and die.how the fishes live and die.

Also I wanted to investigate how to generate three-dimensional forms, from generative algo-rithms, also playing with the genetic algorithm. At last, I wanted to use it as a tool to prove socio-economical inequality of our world, that to me seem relevant, from macro economical data affecting the inhabitants of each country (GDP per capita, poverty line, unemployment…) up per capita, poverty line, unemployment…) up until how much money is spent on health or if they have access to clean water easily.

jordirosawww.jordirosa.comwww.evulvia.netwww.jordirosa.tumblr.com/archivewww.society6.com/jordirosa

E V O L U T I O N A R Y A R T

www.evulvia.net

cg.articulate@gmail.comwww.contemporarycandy.comwww.facebook.com/contemporarycandy

A R T I C U L A T E all rights reserved

A R T I C U L A T E Contempo-rary Candy is an appeal to the daily eye, polluted with utter imaginary prostitution for the eye. Our call is to provoke qual-ity above quantity. We̓re in love with beauty and above all, that of original kind. We adore awkwardness and have a odd relation to synchrony.

We invite you to step into our universe, where you surely will feel almost like home, if not dis-turbed by our behavior. Either way, we are very thankful that you passed by…

perhaps