Küf- Mold

Kuf Mold 2009

2009-12-24T03:18:00.001-08:00

Küf Mold 2009

2009-09-28T14:23:00.000-07:00

KÜF/ MOLD ROTTERDAM 2009

2009-09-19T12:04:00.000-07:00

click on the image to enlarge

Küf Mold 2009 Rotterdam- Türkçe bilgiler

2009-09-18T07:31:00.000-07:00

26 Eylul - 24 Ekim 2009

Küf/ Mold 2009 bu sene Rotterdam’ da, İstanbul, Gent, New York ve Rotterdam’ dan 88 sanatçının katılımı ile gerçekleşiyor. 60 sanatçının Rotterdam’daki Oud Charlois bölgesinde bulunan 50 dükkana eserlerini yerleştireceği sergi kapsamında ayrıca A- Locatie galerisinde 28 sanatçının grup sergisini görme imkanı da bulunuyor. Sergi açılışı 26 Eylül 2009 tarihinde saat 16:00’da Flaman hükümeti diplomatik elçisi Filip D’Havé, Türkiye kültür ateşesi Murat Karakuş ve Amerikan Halkla ilişkiler Müşaviri James K. Foster’ın katılımıyla A-Locatie, Wolphaertsbocht 51-55, Rotterdam adresinde gerçekleşecek ve açılış konuşması Prof. Dr. Pieter Tordoir (Amsterdam Üniversitesi) tarafından yapılacak.

Göçebe bir sergi

Küf/ Mold çok-kültürlü gezici sergisi ilk olarak İstanbul’ da 2007 senesinde başladı ve ardından 2008 'de Gent’ te gerçekleşti. Gelecek senelerde ise İstanbul (2010), Memphis (2011) ve New York (2012) devam edecek. Küf/ Mold, kuratör Suzan Batu (TR/ABD) ve Bill Doherty (USA) nin oluşturduğu KOOH tafından yapılmış, 2009 Rotterdam sergisi ise Dear D’Hondt (B) ve Ivo van den Baar’ ın(NL) işbirliğiyle gerçekleşmiştir. Kelime olarak organik ve yaratıcılığı temsil eden “küf”, sergi için seçilen yansıtan, genellikle şehrin arka planında kalmış, daha çok göçmenlerin yaşadığı bölgelerdir. Rotterdam’ da seçilen bu bölge ise Oud Charlois olmuştur. Küf/ Mold 2009 bölgede sanatçılar, esnaf ve yerel halk arasında bir etkileşim sağlamayı amacliyor. Bölgedeki dükkanlara yerleştirilen eserler ile gündelik hayat ile sanat iç içe girmektedir.
Katalog Sanatçıların eserlerinin bulunduğu ve mekanları gösteren Kataloğun tanıtımı 10 Ekim Cumartesi günüs A-Locatie’ de gerçekleşecektir.

Pratik bilgiler

Küf/Mold 2009 sergisini 26 Eylül’ den 24 Ekim’ e kadar ziyaret etmek mümkün olacaktır.Ziyaretcilerin pazartesiden Cumartesiye açık olacak dükkanlardan ücretsiz sergi haritasını temin etme imkanı olacaktır. Grup sergisinin bulunduğu A- Locatie Çarşambadan Cumartesi’ ye saat 13:00 ile 18:00 arasında ziyaret edilebilir. Daha fazla bilgi için lütfen e-posta ile bize ulaşın:

suzanbatu@yahoo.com
denizkose@gmail.com

KUF / Mold 2009 organizasyonu Stichting Kunstimplantaat i.s.m. Wandschappen ve Robin Kolleman tarafından yapılmıştır.

Sanatçılar

ÆK liest (N L )
Aga Ousseinov (U S A )
Albert McGrigor (U S A )
Aletta dejong (N L )
Anne de Coninck (B E )
Andrew Demirjian (U S A )
Berke Soyuer (T R )
Bill Doherty (U S A )
Buck Henri (U S A )
Bulent Çinar (T R )
Burçin Ayebe (T R )
Carolanna Parlato (U S A )
Cem Aydogan (T R )
Charley Friedman (U S A )
Christian Schlager (AT )
Chuck Yuen (U S A )
Cigdem Kaya (T R )
Dahlia El sayed (U S A )
David Sandlin (U K )
Debra Jenks (U S A )
Elise Engler (U S A )
Erwin Keustermans (B E )
Eti Behar (T R )
Eung Ho Park (U S A )
Evr im Kavcar (T R )
Frank van Hiel (B E )
Gaye Inal (T R )
Genco Gülan
Etienne Boileau (T R /N L )
Glenn Garver (U S A )
Hanneke van Velzen (N L )
Henri Du Moulin (B E )
Inez Smit (N L )
Insel Inal (T R )
Jason Coburn (U K )
Jennifer Croson (U S A )
Jeph Gurecka (U S A )
Jeroen Jongeleen (N L )
Jim Osman (U S A )
Judith Page (U S A )
Julian Jackson (U S A )
Julie Evans (U S A )
Karin Arink (N L )
Kathleen White (U S A )
Lale Tara (T R )
Leyla Okan (T R )
Lieve D ’hondt (B E )
Lor i Ortiz (U S A )
Lottie Leymar ie i .s.m.
Bret Puchir (U S A )
Lucia Penninck x (B E )
Madeline Hatz (U S A )
Marc Bijl (N L )
Maria Degrève (B E )
Marijke Bontinck (B E )
Marlies Davans (B E )
Milou van Ham (N L )
Mustafa Yuksel (T R )
Necla Köse (T R )
Nezaket Ekici (T R )
Norma Markley (U S A )
Nur Ataibiş (T R )
Orhan Tekin (T R )
Orhun Erdenli (T R )
Pauline Chernichaw (U S A )
Pavel Lembersky (U S A )
Priscilla Bistoen (B E )
Rafael Sanchez (U S A )
Ray Rapp (U S A )
Rene Lynch (U S A )
Rob van der Schoor (N L )
Robin Lee Crutch-eld (U S A)
Sally Lelong (U S A )
Sally Yap (U S A )
Sebnem Senyener (T R )
Sena Başöz (T R )
Shei la Ross
&Laura Ten Eyck (CA )
Suzan Batu (T R )
Tamer Ertuna (T R )
Tenesh Webber (CA )
Teoman Madra (T R )
Thomas B roadbent (U S A )
Ties Ten Bosch (N L )
Tom McGlynn (U S A )
Ugur Kunst (U S A )
Vitaly Komar (U S A )
Wandschappen (N L )
Wendy Hirschberg (U S A )
Yasemin Nur Toksoy (T R )
Yves Vanpevenaege (B E )

Mekanlar

A - locatie
African N ew Channel
Ansa Vastgoed b.v.
Aruna’s N agel en
Schoonheidssalon
Atel ier A nnemiek e K iefer
B.T.H . B emiddel ing
Bizim B ak k er i j
B - L ok atie
Callcentre H avens
Charlois K apsalon
Cyro B loemsierk unst
Dopey’s P lace van S tichting
Opnieuw
Fei jenoord, Warenhui s
Gemeentewerk en,
Wolphaer tsbocht
Gi tar ium, D e G i taar shop
Goed en N ieuw K leding
Göl ler E etcafe
Groen B ak k er i j
Gülcan Cadeaushop
Güven Meubel
Happy D ays Coffeeshop
Islam Centrum B V,
Islami ti sche S lager i j
Kachar B elhui s
Kahn B elhuis I nternet
Karşiyak a S lager i j
Lale E ethuis, S hoarma,
Pizzer ia, G r i l l
Lalel i Mosk ee
Marlena Cafetar ia/
Snackbar
Meri Handel sonderneming
Merk ez I slami ti sche
Slager i j
Multinationaal Adviesbureau
Musa A uto I n en Verk oop
Nwala Marokkaanse B akkerij
Paula F antastic N ai ls
Pegasus G r iek s R estaurant
Piccol ino P izzer ia
Ristorante
Piek -jn
Primera P al tan, R ookwaren
en T i jdschr i f ten
Quup, A tel ier
Raveena’s G oud en Z i lver
Sanitas G ezondheidscentrum
Sat Telecom
Shalom G r i l l room
Shanghai Chinees I ndi sch
Restaurant
The Mix , K apsalon
WOK R estaurant
International
Yayla S uper Mark et

What is Küf- Mold?

2009-08-12T12:01:00.000-07:00

Küf/Mold is a traveling exhibition inclusive of virtually all disciplines of art. It is an initiative of the curatorial team, KOOH, which consists of Suzan Batu (Istanbul, New York) and Bill Doherty (the United States).
As participants and supporting organizers Ivo van den Baar and Nicole Driessens (WANDSCHAPPEN) have been involved in the previous editions of Küf/Mold. As a co-curator they will produce the Rotterdam edition.

Küf is the Turkish word for mold, as in biological mold. The definition relating to the title also pertains to a mold used in the process of fabrication, hence determining the realm of the show as one that is organic and creative.

Migrant traders as well as artists settle down in exhausted, dilapidated areas of western cities. The ”mold”of these areas, is a great attraction to these groups of individuals because these neighborhoods consist of cheap, empty houses and factories in which people can reinvent their lives and develope new businesses. Each of these two groups are often among the first people that see the possibilities and take the risk due to their nomadic way of life. In most cases this means the positive redevelopment and revitalization of a neighborhood.

KOOH

2009-07-12T16:04:00.000-07:00

The name KOOH alludes to a political coup, used in reference to pulling off large scale curatorial projects independently with limited means. It also connotes cooing as pertaining to the affection demonstrated among doves or pigeons and used as a euphemism concerning people being affectionate with one another.

KOOH is a non profit curatorial team comprised of Suzan Batu and Bill Doherty and rotating personnel on a location specific basis. KOOH has been in action since FASHIONED, NY - 1998.
The next presentation of Kuf-Mold was in the Grand Bazaar, Istanbul, Turkey. It was also a parallel show to the Istanbul Biennial.
Gent, Belgium was where the second leg of the show took place in the fall of 2008. Kuf/Mold Gent came to fruition with the participation of Marijke Bontinck, Erwin Keustermans and Ivo van den Baar, Galerij Jan Colle and de Centrale.

History of Küf - Mold

2009-06-21T12:05:00.000-07:00

The intial exhibitition of Küf-Mold was presented at the Grand Bazaar in Istanbul, Turkey

in the fall of 2007. Kuf/Mold came to fruition by KOOH working in concert with Marijke Bontinck (Belgium) as guest curator. They had known each other as friends and artists for years and started the project with the group of artists around them. After Istanbul, the project went on toin Gent, Belgium in collaboration with Erwin Keustermans (Belgium) and Ivo van den Baar (Holland).

The initial idea was to invite each of the artists to place a work of art in one the shops of Turkish traders, in the Grand Bazaar of Istanbul, the second year in the shops of the streets of Sleepstraat and Oudburg in Gent, Belgium. At this juncture Rotterdam - Oud Charlois will be next a in, September, 2009 in which the project will be further developed.

Kuf/Mold/ Rotterdam will be realized with the help and support of Wandschappen comprised of Ivo van de Baar and Nicole Driessens, and with Lieve D’Hondt of Belgium, as a guest curator.

Istanbul 2007 was a confrontation of contemporary visual art with the Grand Bazar, the historical trade center on the border of eastern and western society. In this environment art was married with the daily function of business. Most of the works of art were already existing works for which a proper presentation spot was found in the area with some 5000 shops. Exciting discussions took place, because religious as well as purely commercial issues came up in this context. These are subjects which nowadays rarely surface in the contemporary western art circles.

Gent 2008 had a different approach. Sleepstraat and Oudburg are two streets in a poor neighborhood in the centre of the city of Gent, where a lot of Turkish people live and work. A strong eat-and-meet-culture for all people of Gent has been founded there, among a range of Turkish shops and restaurants. business were the locations for the More site-specific works were developed by some of the the international artists that comprise Kuf/Mold. The cooperation with the shop keepers had been generous and enthusiastic. During the four weeks of the show many of the people venturing out to see the installations in the shops were encountering those shops for the first time. In addition to the Sleepsraat, Oudburg venues there were two group shows were organized: one a program with performances and photographs in de Centrale, a multi-cultural music and art center and the other, a group show of all the participating artists in Gallerji Jan Colle.

Previous Exhibition Photos

2009-06-21T00:04:00.000-07:00

Please scroll down for previous exhibition photos or choose from the menu left.

OPENING SPEECH AT THE CENTRALE

2009-06-11T13:10:00.000-07:00

Erwin Keustermans and Ivo van den Baar (Wandschappen)

ANDREW DEMIRJIAN

2009-06-10T07:03:00.000-07:00

Microclimates Küf/Mold opening

The band Yuko improvises to the bass drones generated by a visual mesh 3D object that is textured with video feedback. The visuals are like a light sensitive skin that trembles and responds to increased amounts of light from a camera looking at its own image. These trembles release low bass tones that the band is responding to.

http://www.andrewdemirjian.com/

+DAS

2009-06-01T14:49:00.000-07:00

Devrim Ada, Ahu Akgun, Semiha Erdogan

THOMAS BROADBENT

2008-09-22T13:22:00.000-07:00

Leaving Gallery Jan Colle, Gent, Belgium

HENRY DUMOULIN

2008-09-22T13:15:00.000-07:00

Performance at Jan Colle Gallery, Gent, Belgium

Sally Lelong is inspecting colour and texture.

the post on Henry Dumoulin at Küf/Mold Istanbul

NECLA KÖSE

2008-09-22T13:13:00.000-07:00

Performance at Jan Colle Gallery, Gent, Belgium

neclakose.blogspot.com

ALBERT MC GRIGOR

2008-09-22T13:05:00.001-07:00

the post on Albert Mc Grigor in Küf/Mold Istanbul

LIEVE D'HONDT

2008-09-18T20:17:00.001-07:00

the post on Lieve D'hondt in Küf/Mold Istanbul

MILLIYET: "Kapalıçarşı sergisi Gent’e taşınıyor"

2008-09-17T19:37:00.000-07:00

2007’de İstanbul Kapalıçarşı’da gerçekleştirilen “KÜF/MOLD” adlı sergi projesi Belçika yolcusu.
İşlerini sosyal ve ticari hayatın içindeki mekânlarda sergilemeyi tercih eden ve aralarında Genco Gülan, İnsel İnal, Suzan Batu ve Eti Behar’ın da bulunduğu sanatçılar, proje için bu yıl Belçika’da Türklerin yoğun olarak yaşadığı Gent şehrini seçtiler. “KÜF/MOLD” 20 Eylül - 12 Ekim tarihleri arasında Gent’de üç ayrı mekânda izleyicilerle buluşacak.
Serginin merkezi Oudburg Sleepstraat ekseninde yer alıyor, sergileme alanları çoğunlukla Belçika’ya yerleşmiş Türkler tarafından işletilen dükkânlar, kültür merkezleri ve restoranlar. Aynı zamanda da Centrale’de İstanbul Kapalıçarşı’yı konu alan bir fotoğraf sergisi sunulacak.

SUZAN BATU

2008-09-16T20:07:00.000-07:00

the post on Suzan Batu in Küf/Mold Istanbul

LEYLA OKAN

2008-09-16T19:43:00.001-07:00

YASEMIN NUR TOKSAY

2008-09-16T19:38:00.000-07:00

TAMER ERTUNA

2008-09-16T19:32:00.000-07:00

LALE TARA

2008-09-16T19:21:00.000-07:00

the post on Lale Tara in Küf Mold Istanbul

JULIAN JACKSON

2008-09-16T19:04:00.000-07:00

the post on Julian Jackson in Küf/Mold Istanbul

MARLIES DAVANS

2008-09-16T13:46:00.001-07:00

the post on Marlies Davans in Küf/Mold Istanbul

CIGDEM KAYA

2008-09-16T13:40:00.000-07:00

ETI BEHAR

2008-09-16T13:37:00.000-07:00

INSEL INAL

2008-09-16T13:28:00.000-07:00

the post on Insel Inal in Küf/Mold Istanbul

RAZIYE KUBAT

2008-09-16T13:20:00.000-07:00

GULCIN AKSOY

2008-09-16T13:08:00.000-07:00

the post on Gülçin Aksoy in Küf/Mold Istanbul

DAHLIA ELSAYED

2008-09-16T13:03:00.000-07:00

"I have done a series of site specific works that are based on public interaction. This piece is an urbanized update of the ritual of tree veneration, the act of tying small cloths onto a tree for various reasons. It is a custom of ancient pagan religions and still actively practiced today in Japan, India, Ireland, and the Middle East. Historically the act is done as a request to the sacred: to ask for a wish granted, to transfer illness, to ensure a blessing, to pacify a spirit, to be redeemed for breaking an oath, to realize an aspiration. As the fabric disintegrates, the request is realized.The work here uses the fence of an empty lot as a stand in for a sacred tree. Passersby during the installation will be asked to participate in the ritual: to tie a ribbon and make a wish, contributing to a collective act of devotion for the city of Ghent."
Dahlia Elsayed, 2008

SALLY LELONG

2008-09-16T12:54:00.000-07:00

"The earliest written records found to date are Mesopotamian stone tablets containing an inventory of possessions. As a possible starting point, it seems logical that accounting should be the springboard for the written word. After all, what is the point of quantifying something, if it can’t be described? How systems of writing further developed to describe our thoughts and feelings is a matter of evidentiary speculation. However, as our current age demonstrates, these advances did not forgo our other need to communicate via sound, form and image. Indeed, as in the past, if you consider the various ways we communicate with each other, it has become a necessity to be able to portray ourselves by all the means that culture generates in order to benefit from being a member of the culture. As a visual metaphor for these demands, I present mass-produced items, found objects, large-scale prints and entertainment gadgets in unexpected ways to play with viewer expectations and suggest those moments of comprehending the changes that are ever occurring. It takes a moment to recognize constituent parts. Then, one discerns the connections. The experience is exploratory, much like an archeologist’s entry into the here-to-fore unknown.
Sally LeLong, 2008

RAFAEL SANCHEZ

2008-09-16T12:43:00.000-07:00

"Portrait of Glen Fogel.
primers, pool paint, Chroma-key (TM) &Ulti-matte (TM) (blue screen video paints), traditional recipe barn paint, gold leaf, phosphorescent paint, antirouille orange (french rust blocker), foundation make-up (Cover Girl), driveway sealer, nail polish, Plaster-Weld (TM), Flashe (TM) fluorescent paints & aerosol paint on linen. 24" x 20", 2004"

the post on Rafael Sanchèz in Küf/Mold Istanbul

PAVEL LEMBERSKY

2008-09-15T12:54:00.000-07:00

"FRAGMENTS OF A GREAT NARRATIVE

In 1975 shortly before my family and I left for the United States, I took these photographs of relatives who stayed in Odessa, Ukraine. Thirty years later I developed the prints in New York City, and around the same time I took a picture of the feet of passers-by during the 2005 Thanksgiving Day Parade near Columbus Circle."
Pavel Lembersky, 2008

TOM MC GLYNN

2008-09-15T12:37:00.000-07:00

"In my most recent work I have been exploring a mode of drawing and video animation that randomly plots paths that either continue or end. The spontaneous process of plotting allows for a open- ended result , and one in which I hope to generate a culturally symbolic image."
Tom McGlynn, 2008

ORHAN TEKIN

2008-09-15T12:26:00.000-07:00

"For Nietzsche, art represents a form of ‘truth’ (perhaps the highest form of truth available to human beings) in that; it discloses to individuals the sublime nature of their suffering, their pain, their foibles, and their failures. In this respect it enables them to continue to exist as moral beings in the face of the suffering and tragedy which characterize so much of the human existence of life. “Nietzsche holds that in the absence of the truth of art human beings are overtaken by moral nihilist, since suffering, cruelty, and so on, become unintelligible. Why do I suffer? Only when modern humanity feels the need for art will it become a spiritual humanity” (Pearson,1994, p.59).

There, people living in poverty and who had no option but to create the
environment and new tools for living could not by economic necessity, subscribe to accepted taste as it applied to possessions. Were they not then realising new value inherent in the materials they used? Were such people truly ‘weak’ because they were poor and unable to belong to affluent society or had their very poverty been a driving force in freeing them from tired, conventional values and thereby enabling them to become heroic? These questions formed the bedrock of my admiration of the poor and played a major role in my determination, as a sculptor."

Orhan Tekin, 2008

EVRIM KAVCAR

2008-09-15T12:21:00.001-07:00

CEM AYDOGAN

2008-09-15T12:14:00.000-07:00

MARIA DEGREVE

2008-09-15T11:36:00.000-07:00

Daar waar stoffen aan de bomen groeien,
Ontspinnen zich verhalen,
Kant en zijde strelen je huid,
Parels rijgen zich aaneen als kindertekeningen tot kransen van vandaag.

A place,
Where Lace and Silk grow on Trees,
Where Stories get woven,
Where Pearls of the Past string together Garlands of Today.

Maria Degrève 2008

KULTUURMARKT, 13 SEPT.

2008-09-13T23:27:00.000-07:00

We had a small marquee, a big audience and a pouring of rain (the latter two not in the picture yet) at the Arts and Entertainment fair on the Kouter square where all Gent's art musea, art schools, theatres and art centres present their agenda.

ANNE DE CONINCK

2008-09-11T11:53:00.000-07:00

Anne De Coninck woont en werkt in Gent (België). Zij studeerde aan de Sint-Lucasacademie te Gent en geeft er les in tekenen en schilderen.
Ze is gefascineerd door de nacht en de menselijke aan – en afwezigheid. Met haar nachttaferelen toont ze een menselijk omhulsel (huis) of een menselijk spoor (autosnelweg) die aanwezigheid bewijst, maar waar geen mens te bespeuren valt. Het koele maanlicht maakt het tafereel toegankelijk en leesbaar, maar geeft het tegelijk ook iets dreigend. De toeschouwer wordt nieuwsgierig naar wat daar gebeurd is, of wat er achter de façade nog aan het gebeuren is. De kijker zoekt in de eigen ervaringen naar mogelijke scenario’s. Hij wordt geraakt door de melancholie die van de werken uitgaat.

“Ik ben als een archeoloog die op zoek gaat naar het wezen van de mens door z’n overblijfselen en zijn ingrepen te bestuderen. Vanuit die optiek krijgen de dagdagelijkse dingen, die wij heel evident vinden, plots een andere dimensie.”

Dit werk is het eerste van de Moonlight / Maanserie (2007).

BILL DOHERTY

2008-09-11T11:10:00.001-07:00

the post on Bill Doherty in Küf/Mold Istanbul

WANDSCHAPPEN

2008-09-10T03:17:00.001-07:00

WENDY HIRSCHBERG

2008-09-04T11:48:00.000-07:00

"With this work, my intention is to guide the viewer’s eye through an invented space. I am inspired by Hitchcock films, particularly his use of unusual camera angles. I chose to reveal my fasteners and to construct work simply. I do so to allow the viewer to walk through the steps of construction, to build up to the final image.

With the new series, I open the suitcases and attaché cases and use the interior space as a workspace. I continue to be interested in moving from the sculptural volume to lines and planes and back again to volume. The wall, the floor and the cascade from wall to floor all interest me visually. There is a kind of composed cacophony in the work, with grand aspirations to the kind of energy that one projects into the Prison print series of Piranesi or in the tunnels of Martin Ramirez's drawings. As the work becomes more abstract, music, dance and fashion all become more important as sources of varying kinds. The challenge I am taking on is to get to a level of poignancy that satisfies the urge that has historically led me to imbed some representational images in the work but that as the work towards abstraction. " Wendy Hirschberg, 2008

RAY RAPP

2008-09-04T03:20:00.000-07:00

"The jelloMolds are silicone rubber cast in traditional American jello molds and Bundt cake pans. In the manner of jello fruit salads, the jello molds are embedded with a functioning LCD monitor and circuit board as opposed to pineapple or marshmallow chunks. The LCD monitors have been taken out of the factory casings and sealed with electrical insulating varnish. One monitor is placed in the mold with a small amount of liquid silicone rubber and then the mold is filled to the top. The LCD monitor is completely embedded in the mold in this manner. If these steps are done correctly the LCD monitor continues to function after the silicone rubber gels. Depending on the type of mold and the depth of submersion, the ability to view content on the monitors is determined. The monitors are placed in the central hole of the Bundt cake molds, so those videos are unobstructed. The videos used for the jelloMolds vary from simple figurative animations to short snippets of readily identifiable television programming such as professional wrestling." Ray Rapp, 2008

Seen on the web: CHARLES YUEN

2008-09-04T03:08:00.000-07:00

"Metaphor is pleased to open its' 2008 - 2009 season with the exhibition Social Studies, featuring new paintings and works on paper by Charles Yuen and new prints, photographs, and sculptures by Yunmee Kyong. The exhibition will open Friday, September 12 with a reception for the artists from 6 - 9 pm. The show will run through October 11, 2008.

In this season charged with political ferment and possibility Metaphor is pleased to present two artists whose engagement with the world around them is readily apparent in the content of their work..."

CAROLANNA PARLATO

2008-08-28T13:29:00.000-07:00

ELISE ENGLER

2008-08-28T13:20:00.000-07:00

"I inventory collections of various kinds, my possessions, contents of people's handbags, cars, and refrigerators. My travels are chronicled by drawing all that comes and goes. Rendered in colored pencil and set in rows on scrolls of paper 1' wide and up to 5' in height, the miniaturized objects create pictographic texts.

I have also been documenting tax expenditures. This includes war apparatus as well as at sites paid for by public funds: e.g. maintenance materials for a park, and the NYC virology lab. Most recently I have drawn the contents of the laboratories on an oceanographic research vessel as scientists collected water and sediment samples along the Pacific Northwest coast.

In addition an ongoing piece records war casualties. Wrapped in the Flag depicts coalition troop losses, and consists of 16 scrolls of rows of small silhouetted figures (over 4000), each filled with a portion of the appropriate national flag, then labeled with the soldier's name / age. Collateral Damage documents civilian casualties, mainly Iraqi. 17 scrolls of pencil silhouettes are filled in with white pencil, many identified by name/ age.
Almost 18,000 figures have been drawn-a fraction of the reality." Elise Engler, 2008

www.eliseengler.com

MADELEINE HATZ

2008-08-27T23:13:00.000-07:00

SALLY YAP

2008-08-22T12:11:00.001-07:00

"Though fertile soil and plastic products--which are combined in the installations that I call 'Little Red Greenhouses'--present themselves to the contemporary mind as residents of opposing categories, artists have long constructed works that are built on the unification of opposites. The groupings in my installations reveal an extreme manifestation of that oppositional tendency and evidence the tension that results, replacing the blue dome of the sky with a cube of red light, and hanging stones and beads in lieu of sun and stars over samples of the green growth that keep our planet a vital and living place. What we see, then, is an experiment in both nature and artificiality, just as technological civilization javascript:void(0)is itself an experiment in both nature and artificiality. Can these plants survive in such an environment? It will depend most, perhaps, on the moment of viewing."Sally Yap, 2008

the post on Sally Yap in Istanbul

CHARLEY FRIEDMAN

2008-08-22T10:36:00.000-07:00

"The glue that binds my work together is humor. The crux of my art is to explore the absurd, tragic, contradictory nature of living that humor can uniquely portray from multiple yet equal tangents. Because humor has no material preference, as an artist I have the freedom to explore different materials and processes. For many pieces, I use my self to filter into the artwork. I produce sculptures, installations, photographs, videos and performances equally. For me it is the emotional "ah hah" that I desire over any formal qualities. I want my viewer to feel before he/she thinks.

As pertaining to these two photographs. I see them as residues of performances. Each one shares an obvious kindred spirit with each other but comes from a very different conceptual place. Both try to pinpoint how identity is formed and nuanced. "Untitled" is about parallels, far fetched and tangible whereas "Untitled(Chasid)" has more to do with our present day politics of categorizing people based on ethnicity and politics.

In relation to the process, I was interested in creating fictions and relationships that go beyond the indelible connection to the original source and in that way it relates to my interest as an artist how objects, art or not, get charged and go beyond their fundamental material power. Neither of the pieces involve photo shop but instead involved methodically growing a beard and making sure shadows, glasses and attitude are just right." Charley Friedman, 2008

www.charleyfriedman.com

BERKE SOYUER

2008-08-19T12:51:00.001-07:00

NECLA KÖSE

2008-08-19T12:46:00.001-07:00

neclakose.blogspot.com

GÜL ILGAZ

2008-08-19T12:30:00.001-07:00

PAULINE CHERNICHAW

2008-08-13T06:06:00.001-07:00

"Transpose: To change in form or nature. To render into another style or manner of expression.

My digital photographic images consist of blurring the boundaries between forms in nature and the human-made environment. By visually capturing the luminous essence of light and color, I make visible what might otherwise be invisible to the human eye…and mind.

By transposing images from the visually familiar, i.e. what the eye thinks it sees, I embrace the interplay of light, color, movement in space, and digital texture to create a new perception of reality.

What is real in the world is now abstract….and what is abstract is now real.

A flower is not a flower….a metal grid is no longer seen as metal….a seascape may or may not be wet.

My imagery is world encompassing…not culturally or spiritually exclusive." Pauline Chernichaw, 2008

BUCK HENRI

2008-08-12T14:20:00.001-07:00

"Buck Henri ~ The Forbidden Artiste
Buck Henri paints like a man possessed, he has no choice... he sees these paintings as incomplete and he is compelled to apply his masterful strokes to these wayward virgins on the fine linens !
The Chinese masters of the Naked Flesh have driven him to distraction... he must have them!
He has to finish them ! He knows what they need and he has done what he must to make them his own. He knows what he has done is bad . But he is not really sorry. No.

Yes , He will do it again , when no one is looking.

I know for I am there , trying to restrain him but he is a man possessed!
His obsession could be your possession !
Max Henry / Manager Agent for Buck Henri."

buckhenri.com

JUDITH PAGE

2008-08-12T13:58:00.001-07:00

"Her recent series of portrait paintings begin as photographs and, through the addition of a gel-like paint, become both reliquary and visionary. The reliquary aspect of the paintings comes from the fragments of the original photographs—eyes, mouth, teeth, or bits of skin—that one can
glimpse through the layers of paint. They are like the bone fragments that one might view in a sculptural reliquary of a saint. The visionary aspect of the paintings involves the intuitive addition of paint over the photograph. Occasionally this action takes place in a passionate explosion; more often the process is deliberate and meditative. This blend of photography and painting allows Page to reveal more about the character of the subject than the photograph itself—an expressive vision rather than a depiction."

MARK DAGLEY

2008-08-12T13:08:00.000-07:00

"In general my work engages familiar tropes of geometric painting and supergraphics - dots, stripes, sine curves, and systematic progressions--often taking them to visual extremes. With this series of offset prints, I merge the techniques of low budget poster printing with transcendental and/or hermetic design configurations, allowing opticality and geometric sequence to make logical, playful conclusions." Mark Dagley, 2008

www.markdagley.com

SHEILA ROSS

2008-08-10T03:37:00.000-07:00

"Using traditional art and everyday materials, including plastic sheeting and masking tape, I meld imagery culled from Western and Eastern traditions, including geometric abstraction and Islamic art, architectural sources from the 19th and 20th century New York landscape and Ottoman traditions, into drawing installations and miniature inspired drawings. The work has taken form most recently as large digital drawings that have been installed into a prefab yurt like structure, but have also taken form as a series of small drawings, larger scrims and duct taped plastic enclosed “shelter in place” safe rooms." Sheila Ross, August 2008

ROB VAN DER SCHOOR

2008-08-10T03:19:00.000-07:00

"For this show I selected a number of paintings from the so-called “Religious- works” series.
After a three months trip through Vietnam and Thailand I became fascinated by the richness of religious expressions. This resulted in a large series of paintings, drawings and watercolors. Long before this trip I had made a painting of Shiva on the cross. The result was a humorous and light work in which suffering has a different meaning. In the new paintings he mixed the Christian, Buddhist, Muslim and Hindu images into a new eclectic image. The later series were done on lose cloths supported by poles like the Buddhist scrolls. Here the fabric is an intricate part of the painting." Rob van der Schoor, 2007

MUSTAFA YUKSEL

2008-08-10T03:14:00.001-07:00

"Sanatın güncel hayata karşı duruşu hergün tükettiğimiz malzemezemeler gibi olurken bir yandan da daha kendine dönük bir özerkliğe sahip estetiğin peşinde koşmaya başladı. Bu devinim içinde heykel sanatı kendinine dönüp arkatiplerinden soyunup kendi üst bilincini oluşturduğunda sadeleşmiş bir estetik le ortaya çıkar
Kendine dönüşle ilgili bu çözümleme heykeli bir noktada üretimsel açıdan prototip oluşturur." Mustafa Yuksel, 2008

"On the one hand the art is consumed as a daily material in every day life, on the other hand art tries to create its own special aesthetic. Sculpture has a different aspect. It purifies itself from archetypes. With this conscious sculpture become more purified and becomes simple within a different aesthetic. From this point sculpture produces a prototype in a production process." Mustafa Yuksel, 2008

the post on Mustafa Yuksel in Küf/Mold Istanbul

JIM OSMAN

2008-08-10T03:11:00.000-07:00

"I combine, layer and compress different kinds of space. The vessels that give these spaces form can be clear and tangible like architecture/ furniture
or symbolic like a flag or just formal - a color.
I use plaster to make the wall drawings feel built thus physical. This physical quality contrasts with the flatness of drawing forms in space adding another layer tension to the work.
Combining these forms makes for odd, unthought-of arrangements that once started must be reconciled formally, all the while staying true to a notion of space that is convoluted, dense, opaque yet somehow understood." Jim Osman, 2008

AMANDA CHURCH

2008-08-10T03:08:00.000-07:00

"My paintings depict a multi-referential interplay of form and color, incorporating an idiosyncratic vision of psychological portraiture into a signature style of swirling configurations and artificial palette. The biomorphic shapes I have been working with for some time reflect the dreaminess of human thought and reference such disparate elements as graffiti and 60s and 70s album covers and rock posters. Through myriad associations I approach a reflection of the world and an enhancement of meaning, thereby creating a fragmented mirror as well as a kind of idealized refuge from harshness and strife. My paintings, while existing in peculiar tandem with the real world, are soft and sensual, and they attempt to immerse the viewer in an intimate sphere of joy." Amanda Church, 2008

seen on the web: RAFAEL SANCHEZ

2008-08-07T21:25:00.000-07:00

FANDANGO!

JENNIFER CROSON

2008-08-07T21:09:00.000-07:00

"I paint objects and figures in an attempt to make palpable my sense of the current spiraling moment in time where we find ourselves attempting to connect to history and culture. I draw on the humor and anxiety expressed in Americana and folklore, and intersperse childhood memories and personal anxieties with these themes.
My response is to paint images on dollhouse wallpaper, to create a scale and imply a stage for a set of characters derived from American history, folklore, and figurative sculpture that include references to old kitsch figurines. I present some of the figures as monuments and juxtapose them with other objects and figures that are running, standing, floating, and sinking – all actions that suggest a narrative.
The narrative feels familiar but is ultimately inexplicable. The pictorial space is vast, allowing for objects, figures and events to whirl in and out of a nonsensical and ambiguous narrative." (Jennifer Croson, 2008)

the post on Jennifer Croson in Küf/Mold Istanbul

seen on the web: AMANDA CHURCH

2008-08-06T05:59:00.000-07:00

Amanda Church together with Roger Herman, Derek Boshier, Leslie Kneisel, Ignacio Noe, Tyler Stallings, Nancy Baker, Sherie' Franssen, Katina Huston, Hubert Schmalix in "narratives of the perverse", August 9 to August 30 2008, at the Jancar Gallery, Los Angeles.

Jancar Gallery
the post on Amanda Church in Küf/Mold Istanbul
www.amandachurch.blogspot.com
You can also find paintings of Amanda at her Facebook page.

ERWIN KEUSTERMANS

2008-08-05T22:11:00.001-07:00

seen on the web: SALLY LELONG

2008-08-03T02:50:00.000-07:00

"Jul 4, 2008 ... She found a new place on East 9th Street and eventually turned it into The Phatory. This summer, she celebrates her fifth anniversary of ... "

THOMAS BROADBENT

2008-08-03T01:57:00.000-07:00

Thomas Broadbent at the Sculptor's Guild website

It's alive...Küf/Mold 2008!

2008-07-24T10:44:00.000-07:00

Word is out. The Centrale Arts Center in Gent, where we will feature the pictures of the 2007 Istanbul show, gave their part of the upcoming Küf/Mold 2008 show in Gent a double page spread in the program brochure for the coming season.

This is text of the announcement:

"Küf-Mold is a remake and continuation of a project that originated in Istanbul in 2007. In September 2007 sixty artists of 10 different nationalities exhibited work in the covered bazaar in the old city centre.

In Gent Küf-Mold will be present in several different locations:
Individual installations in shops, cafés and restaurants on a route leading from the centre of Gent to the periphery, going through one of the predominantly Turkish neighbourhoods of the city: Oudburg, Sleepstraat, St Salvatorstraat, Muide
An exhibition of photographs about the original Istanbul experience
An overview of work by the participating artists in Gallery Jan Colle
Küf-Mold is:
Art outside a strictly art world framework.
Küf-Mold is not a concept thought out by a curator, museum director or art pope, but is made by the artists themselves. By placing art in non-conventional outlets they search for new, free and fanciful dialogues with their public. Those who want to see it as a criticism of the established art circuit and its selection procedures are welcome to do so.
Based on affinities between:

Tradesmen and artists, both are independent workers who look for attention for their work and trade

A very heterogeneous, international group of artists, the sixty artists are from 10 countries: Turkey, the USA, Canada, Cuba, Belgium, the Netherlands, Russia, Oekraïne, Irak, South-Korea and a lot of them are mutual friends

Turkey, Belgium and other cultures, Küf-Mold is multicultural in a self-evident, almost unsought way.
Marijke Bontinck, one of the Gent organisers of the project: Küf-Mold is built on affinities, associations, playfulness, excess, curiosity about each, acceptance of great diversity, poetic rather than scientific notions about art, collaboration, synergy, strengthening of each others qualities, happy associations between incompatibilities."

Click here for the Turkish text.

Front cover, double page spread with Genco Gulan in the coppersmith's shop, back cover with Wendy Hirschberg.

PARTICIPATING ARTISTS Gent (Belgium), 2008

2008-06-15T07:52:00.000-07:00

David AKEY
Gülçin AKSOY
Cem AYDOGAN
Suzan BATU
Eti BEHAR
Marijke BONTINCK
Thomas BROADBENT
Pauline CHERNICHAW
Amanda CHURCH
Jennifer CROSON
Mark DAGLEY
Marlies DAVANS
Anne DE CONINCK
Andrew DEMIRJIAN
Maria DEGREVE
Bill DOHERTY
Lieve D'HONDT
Henry DUMOULİN
Can DURU
Dahlia ELSAYED
Elise ENGLER
Tamer ERTUNA
Julie EVANS
Dianna FRID
Charley FRIEDMAN
Glenn GARVER
Genco GULAN
Madeleine HATZ
Buck HENRI
Wendy HIRSCHBERG
Eung HO PARK
Gül ILGAZ
İnsel İNAL
Julian JACKSON
Mary JUDGE
Sevda KAPLAN
Evrim KAVCAR
Çiğdem KAYA
Erwin KEUSTERMANS
Noyan KIR
Vitaly KOMAR
Raziye KUBAT
Nedim KUFI
Sally LELONG
Pavel LEMBERSKY
René LYNCH-
Norma MARKLEY
Tom MCGLYNN
Albert MCGRIGOR
David MESSEMAN
John L. MOORE
Jim OSMAN
Leyla OKAN
Lori ORTIZ
Judith PAGE
Carolanna PARLATO
Gary PETERSEN
Ray RAPP
Talal REFIT
Sheila ROSS
Rafael SANCHEZ
Christian SCHLAGER
Patricia SMITH
Berke SOYUER
Orhan TEKIN
Yasemin Nur TOKSAY
Lale TARA
Özlem TUNA
Rob VAN DER SCHOOR
Sammy VAN LAERE
Gerald VAN LAERE
WANDSCHAPPEN
Tenesh WEBBER
Sally YAP
Gaye YAZICITUNC INAL
Rachel YOUENS
Su YÜCEL
Charles YUEN
Mustafa YUKSEL

Küf/mold video Part Three

2007-12-20T05:04:00.001-08:00

Küf/mold video Part Two

2007-12-20T05:03:00.000-08:00

Küf/Mold video Part One

2007-12-20T04:57:00.000-08:00

SU YÜCEL

2007-10-01T11:23:00.000-07:00

NEDIM KUFI

2007-10-01T05:54:00.000-07:00

www.2nedim.com
www.daftar.nl

An Iraqi Born Dutch nationality conceptual artist Nedim Kufi works and lives in the Netherlands, seriously playing with mixed media and audiovisual new media as well, to create expressions of tumultuous emotions, and a journey to a world of struggle against emotional weakness. Trying to rebuild the damage, He uses almost everything as possible material in his Artwork, paper, flowers, strings, soil, henna, dyes and even dirt, and the most of them are fragile, for instance he uses brooms to paint and touch up his work. Any of such alternative tools are expectable. He started off by studying print making or particular etching in Iraq. By mere chance, he got into sculpting field then moved to Holland to study graphic design.
Over the years, a close relationship developed between the disciplines of painting, etching, sculpture, and design. I am supposed to be a painter, but the various Dutch instructors who taught me in HKU School told me that I had new blood, because a fine artist and from another background moving into graphic design has a broader foundation and a greater ability to absorb new things in a different way. However, as I interweaved my painting and design skills, I produced something
which was new to them, and I capitalized on that and developed it.

Later he boycotted painting for about two years 2001-2002, perhaps because the sense of excitement disappeared from it. He developed a resentment of the painter's character because of the way it enforced itself on public vision. Many painters derive their authority from their artistic license, creating an artificial and greatly exaggerated halo around themselves. However, when He traveled he was able to see materials that I already possessed in clearer detail. Many people do not understand or recognized the material they already have or use.

LIEVE D'HONDT

2007-09-12T01:10:00.000-07:00

http://users.pandora.be/lievedhondt

Lieve D'hondt lives and works in Belgium. Her audio-visual installations and graphic works draw on the classical processes underlying sculpture, drawing and architecture, transposing them to the media and virtual environments and blurring the boundaries between the different disciplines. Forming, de-forming and re-forming, constructing, de-constructing and re-constructing, presence and absence, fragmentation and integration, transposition and relocation, association and dissociation, all play a key part in the artist's reflection on perception, a process that also activates the viewer, triggering physical and mental movement and participation. For several years now most of her projects have focused on the occupation of space, experiencing its meaning and content and that of the surrounding areas and places.

STACY LEVY

2007-09-11T23:02:00.001-07:00

As a sculptor, my interest in the natural world rests both in art and science. I work within the two fields using art as a vehicle for translating the patterns and processes of the natural world into the language of human understanding.

http://www.stacylevy.com

GENCO GULAN

2007-09-11T00:51:00.001-07:00

self portrait

TOM MC GLYNN

2007-09-10T06:28:00.001-07:00

Tom McGlynn is an artist, writer and educator based in the NYC area and in Vermont. His work encompasses both abstract painting and time based video installation. He is represented in the collections of the Whitney Museum, The Museum of Modern Art, and The Smithsonian Design Institute. His work has been reproduced for the cover of Artforum magazine and featured in articles in the New York Times. Mr. McGlynn is currently teaching design, painting and drawing as an Assistant Professor at Castleton State College in Vermont, and he has taught design and color theory as a Visiting Artist/ Professor at the Mason Gross School of Fine Arts of Rutgers University in New Jersey.

TENESH WEBBER

2007-09-10T06:24:00.001-07:00

Tenesh Webber is a New York City based photographic artist.
Her work is in the collection of The Brooklyn Museum of Art, and many corporate and private collections. Ms Webber has exhibited her work nationally and internationally, including solo exhibits in New York, Boston and Toronto.

TOM MCGLYNN

2007-09-10T04:49:00.000-07:00

MARLIES DAVANS

2007-09-10T01:58:00.001-07:00

Marlies Davans (°1977) lives and works in Ghent, Belgium.

She had a degree in Sculpture at the St-Lucas School of Arts, and then she moved to Antwerp and had a four year course of Jewellery Making. After studying she began making small sculptures that hover between life and death, and look like a kind of near-beings. Hairy objects, existing of alienating fabrics, tempt the viewer till the verge of the dislike; they move you to the dilemma between caressing and avoiding…

Marlies also made different installations where she sewed death volumes onto plants so they could have a taste of the illusionary life as parasites holding on a living organism. The photographing of the work is a quite important part of the whole process and often the picture stands on its own as a work of art.

Galerie A8
Abrahamstraat 8
9000 Gent
België

0477/689438
marliesdavans@yahoo.com

STEVE FAGIN

2007-09-10T01:39:00.000-07:00

Steve Fagin

http://stevefagin.net/

Steve Fagin, the recipient of several NEA grants, is Professor of
Visual Arts at the University of California, San Diego. He has produced
a series of feature length videos including: The Amazing Voyage of
Gustave Flaubert and Raymond Roussel, The Machine That Killed Bad
People and TropiCola. They have featured prominently at museums and
international festivals and have been screened on Bravo International
in Latin America, Canal + in Europe and PBS in the United States. His
work has been featured at a retrospective at the Museum of Modern Art,
New York and is the subject of a book from Duke University Press,
Talkin' With Your Mouth Full: Conversations with the Videos of Steve
Fagin. Recently, the Museum of Modern Art and the Whitney Museum of
American Art featured his work at shows on the art of the 20th Century.

Steve Faginís video piece Oliver Kahn, (2003, 55 minutes) is named
after the Bayern Munich goalkeeper who lead the German national team in
the World Cup last year in Japan and Korea. This piece is loosely based
on the 1958 one-act play by Samuel Beckett, Krapp's Last Tape, in which
an old man plays back audio tapes he recorded while young and
reconsiders his early passions and ambitions.

SHEILA ROSS

2007-09-10T01:36:00.000-07:00

Sheila Ross is a Canadian born artist who has been living in New York for 12 years. She received her BFA at the University of Western Ontario and an MFA at New York University. Upcoming projects include a collaborative project, Yurt City II, to be included in FLOAT, a biennial event at Socrates Sculpture Park in Astoria, New York in August 2007. She has exhibited her work in several two person, collaborative and group exhibitions at Dam Stuhltrager Gallery in New York. Her work has also been exhibited throughout the US and Canada, including in New York at Holland Tunnel Gallery, Workspace gallery and at Aljira, in Newark, NJ, A-1Art Space Lab, in Knoxville, TN, and at the Koffler Gallery, Workscene and Prime Gallery in Toronto, Canada. Sheila was a recent participant of Aljira’s Emerge, a professional development program for New York and New Jersey area artists. She has been a recipient of an Ontario Arts Council grant. For more information, see www.sheilaross.com

SALLY LELONG

2007-09-10T01:34:00.000-07:00

The earliest written records found to date are Mesopotamian stone tablets containing an inventory of possessions. As a possible starting point, it seems logical that accounting should be the springboard for the written word. After all, what is the point of quantifying something, if it can’t be described? How systems of writing further developed to describe our thoughts and feelings is a matter of evidentiary speculation. However, as our current age demonstrates, these advances did not forgo our other need to communicate via sound, form and image. Indeed, as in the past, if you consider the various ways we communicate each other, it has become an economic necessity to translate our thoughts into as many formats as our culture is producing. I present mass-produced items, found objects, large-scale prints and entertainment gadgets in unexpected ways to play with viewer expectations and suggest those moments of comprehending the changes that are ever occurring. It takes a moment to recognize constituent parts. Then, one discerns the connections. The experience is exploratory, much like an archeologist’s.

RENE LYNCH

2007-09-10T01:33:00.000-07:00

Rene Lynch, "Tug of War", watercolor on paper, 24x18 inches

Rene Lynch, Secrets (Wonderland), 2006, watercolor on paper, 24x18 inches

www.renelynch.com

These watercolors are from an ongoing series titled Wonderland which
directly refers to that sensual dreamworld which connects one to the
deeper universe of nature, both psychological and physical. It is where
children live and where adults visit. It is falling through the rabbits
hole into a world transformed by the heightened reality of a
butterfly's wing and the balance between beauty and decay or innocence
and experience.

Rene Lynch 2007

GLENN GARVER

2007-09-10T01:13:00.000-07:00

My paintings are a depiction of my perceptions, both conscious and subconscious.

My work is not preconceived with preparatory steps such as sketches or studies, as these would only encumber. Rather, I experience the conception of each painting in the process of its creation. Each painting begins with the excitement of what will happen; some come quickly, others take the long way 'round, lingering and haunting until they come to completion.

Each canvas is singular, yet all have evolved from the paintings that preceded them. Over the past 25 years my work has transformed from representational to minimalist, to my current paintings. Yet there has always been a common thread, with the familiar feeling of clarity I experience while painting the basis for this commonality.

HANS VAN HEIRSEELE

2007-09-06T12:29:00.000-07:00

Edit Posts

mailart
Istanbul project
Mail art covers a vast territory, fanning out from its very beginnings in the late fifties. In this universe,
the mailart correspondence by Belgian artists Sjoerd Paridaen and Hans van Heirseele started on December 31, 1996 and made a distinct mark. Sjoerd Paridaen and Hans van Heirseele chart a complex world, far beyond the formalities of mail art. Paridaen's interest in mailart dates from the early eighties. At first he had many correspondents. Only later became his involvement with Hans van Heirseele - a search for the roots and remains of modernism, blasphemic but also beautiful and witty - a major mailart project.
KAUZALE SUZAMMENHANGE is a series based on photographs from newspapers. The usual scheme is (a) a picture chosen by Hans van Heirseele and (b) the picture completed by Sjoerd Paridaen. Some of the pictures involved a nursing to and fro.
The main subject of the series is hands and gestures.

http://whataboutcroxhapox.blogspot.com/2007/01/paridaen-van-heirseele_13.html

LALE TARA

2007-09-06T12:08:00.000-07:00

Lale Tara contemplates that communicating with dull things and objects
comes from the
need of isolated and lonely city-dweller's own world and it becomes a
consolation for them.

Lale Tara cansiz nesnelerle ve esyalarla iletisim kurmanin icinde
yasadigimiz yalnizlasmis
kentlinin dunyasinda ihtiyac haline gelen bir avuntu oldugunu dusunuyor.

RAZİYE KUBAT

2007-09-05T06:13:00.000-07:00

www.raziyekubat.com

RAY RAPP

2007-09-05T06:12:00.000-07:00

theFirstCrusade (short version) is part of a series of video installations in which the electrical/electronic components of the installations become elements in a
wall drawing. The installations use consumer grade DVD players, LCD monitors,
extension cords as well as standard construction electrical boxes, outlets and conduit.
Small, disassembled LCD monitors are pinned to the wall. Power strips are created from electrical boxes, varied color plugs and extension cords to provide the outlets for DVD players and transformers for the monitors. The DVD players which play loops of digital video animation are attached directly to the wall or hung from electrical plugs called ‘pigtails’. theFirstCrusade (sv) features digital videos created from images of toy soldiers which have been animated in order to perform this virtual battle.

http://www.rayrapp.com

PINAR ASAN

2007-09-05T06:06:00.000-07:00

Pınar Asan 1979'da Antalya dogdu. Marmara universitesi radyo- televizyon-sinema bolumunde okudu. Halen Sabanci Universitesi Gorsel Sanatlar Bolumunde yuksek lisansini yapiyor.

www.pinarasan.blogspot.com

PAVEL LEMBERSKY

2007-09-05T06:03:00.000-07:00

Pavel Lembersky was born in Odessa, Ukraine and came to the United
States in 1977. He studied art at Queens College, School of Visual Arts
and UC Berkeley. He graduated from The University of California at
Berkeley with a degree in comparative literature, did graduate work in
film at San Francisco State University. Pavel Lembersky participated in
a number of group shows in and around New York City. He authored two
collections of short stories which have been anthologized and
translated into English, German, and Finnish and have appeared in
literary magazines in Moscow, St. Petersbug, New York, Munich,
Jerusalem and Helsinki. Pavel Lembersky also hosts a nightly radio talk
show in New York.

www.metpo.com
www.wordswithoutborders.org

MARY JUDGE

2007-09-05T05:53:00.001-07:00

"I arrive at my imagery through the use of loose rules that guide the series and forms I work with. These limitations create a framework in which the myriad forms unfold. Materiality is important, drives the process, activates the senses and allows the viewer to engage the work. Transformation is created through the use of repetition and simple forms assume a new complexity. The viewer is presented with the endless possibilities of a defined pattern and participates in the thought process of the work and it’s underlying intelligence." Mary Judge 2007

Mary Judge is an artist who lives and works in New York and Italy. She is best known for her "spolvero" drawings (dust in Italian) which she first exhibited at
The Drawing Center in NY. She is Assoc. Professor of Drawing at Parsons the New School for Design and is represented by Metaphor Contemporary Art in Brooklyn NY. Her works can be seen in the collections of The British Museum and The Victoria & Albert Museum in London, The Philadelphia Museum of Art, and The Fogg Museum among others.

www.maryjudge.com

JULIAN JACKSON

2007-09-05T05:50:00.000-07:00

Julian Jackson, The Dark Reds 2, oil on panel, 16" x 14"
2007

Painting for me has always been a means of approaching and understanding the natural world both as we find it and how we apprehend and reconfigure it. The rational construct of the framing rectangle provides limitless interpretive space in which to experience multiple realities. I am particularly interested in creating work with the power to suggest experience rather than define it, where engagement is, in a sense, physical and one enters the painting as one might enter a forest or take the first step on a path. My current work focuses on the ephemeral nature of light as seen through the lens of an abstract painting practice that is at once critical and meditative, formal and yet deeply rooted in the seen. I think of paintings as places that one can revisit often as one would a favorite mountain, tree, garden, or building.

- Julian Jackson

JUDITH PAGE

2007-09-05T05:49:00.000-07:00

Judith Page

"Jane (7-28-06)" from "Portraits in Plasma"
acrylic, tar gel, photograph on canvas
9 x 12 inches
2006

www.judithpage.com

Judith Page is an artist living in the Williamsburg section of Brooklyn, New York. She received Individual Artist's Fellowships from the Gottlieb Foundation in 2002, from the Pollock-Krasner Foundation in 2005-06 and 1998-99, and from the State of Florida in 1992-93. Her exhibitions include The Photograph as Canvas, The Aldrich Museum of Contemporary Art, Ridgefield, CT; Disarming Beauty: The Venus de Milo in 20th Century Art, Dali Museum, St. Petersburg, FL; Peace Tower at the Whitney Biennial, Whitney Museum of American Art, New York, NY; Beauty and Beast, Luise Ross Gallery, New York, NY; and Memoirs of a Beast, Wake Forest University, Winston -Salem, NC. She is represented by Barbara Gillman Gallery, Miami; Ada Gallery, Richmond; Kasia Kay Art Projects, Chicago; Headbones Gallery, Toronto; and Amy Simon Fine Art, Westport. She will have a solo exhibition at Lesley Heller Gallery, New York, NY in September 2007. Her work was reviewed in Art Papers, Art News, TimeOut Chicago, The New York Times, Art on Paper, and Art in America. Page says that her "art emerges from a Gothic sensibility, a place where horror and beauty exist in close proximity, where innocence encounters depravity, where the spirit is consumed and revived from moment to moment."

WANDSCHAPPEN

2007-09-05T05:45:00.000-07:00

Nicole Driessens & Ivo van den Baar WANDSCHAPPEN
WASTELAND: 2004 - 2007, foam, epoxy and pigments, black rope, 50 x 95 x 55 cm

Nicole Driessens and Ivo van den Baar are two Dutch artists who work together under the name WANDSCHAPPEN. Since 1999 they develope artworks and artprojects, in which they carry out concepts that connect elements of the surrounding, the needs of the constituent and their own images. Every location or situation can be the source of a new artwork. Sometimes the works are temporary, sometimes they are permanent, always connected to the fysical and social elements of the location.
Their work is firmly connected to techniques of handcrafts.
They often use natural forms such as altitude lines, growth of plants, blown up parts of the human body or scientific material and they translate these elements into a new context. The process of developing a work is as important as the resulting artwork.
Because of her autonomous position art is capable of inserting new visions and carry these out in universal images.
www.wandschappen.nl

GÜLÇİN AKSOY

2007-09-05T05:38:00.000-07:00

‘Burma Bilezik’,

Fotoğraf, video yerleştirme, 2007

Burma bilezik geleneksel olarak evlilik törenlerinde geline takılan, zenginlik ve güvence simgesidir.. Bileziklerin sayısı, ağırlığı tarafların toplumdaki yerine işaret eder. Geleneksel olarak burma bilezik takılmalı, hatta gücünüz yetmiyorsa şimdilerde kredi alarak takılmalıdır.

Burma bilezik simgesinden hareketle kurumsal, ticari ve biraz da insani ilişkileri konu edinen bu yerleştirme, Kapalıçarşı’da seçilen bazı kuyumcu vitrinlerinde yer alacaktır. Özellikle sıra sıra burma bileziklerin yer aldığı kuyumcu vitrinlerinde. Proje fotoğraf ve videolardan oluşmaktadır.

Gülçin Aksoy

GARY PETERSEN

2007-09-05T05:34:00.001-07:00

Gary Petersen is from the United States and works in New York City. He received a BS from
Penn State University and an MFA from the School of Visual Arts in New York.
His work has been in numerous group exhibitions in the United States including Diverse Works,
Houston, TX; Vedanta Gallery, Chicago, IL; The American Academy of Arts and
Letters, Nicole Klagsbrun, Winkleman and Frederieke Taylor in New York. He had solo
exhibitions with Genovese/Sullivan Gallery in Boston, Fusebox in Washington,
D.C. and Michael Steinberg in New York. His work is in several private and public collections including Johnson and Johnson Corporation, Jersey City Museum, and the Zimmerli Art Museum.

website: www.garypetersenart.com

EVRİM KAVCAR

2007-09-05T05:15:00.000-07:00

evrim kavcar, 2007, "untitled", fallen leaves, thread

Evrim Kavcar, lisans eğitimini Mimar Sinan Üniversitesi Heykel Bölümü'nde, yüksek lisansını Fullbright bursuyla San Fransisco Art Institute' ta tamamlamıştır. Halen T.C. Beykent Üniversitesi'nde Grafik Tasarým Bölümü Öðretim Görevlisi olarak çalışmaktadır.

With Bachelors in Fine Arts on Sculpture, Evrim Kavcar graduated from Mimar Sinan University and attended San Francisco Art Institute as a Fulbright scholar for her masters in contemporary art. She currently is a resident lecturer at Beykent University Department of Graphic Design.

http://evrimkavcar.blogspot.com/