Collection Vehbi Koç Foundation, contemporary art museum Arter, Istanbul
Artist : Alejandro Leonhardt
OK (2018)
400 x 257 x 109 cm, broken windshields on scaffold
Artist : Alejandro Leonhardt
Impacts insist, while bodies resist (2018)
140 x 80 x 80 cm, aluminium showcase, glass, and mirror containing diverse autoparts recollected at the roadside
Artist : Alejandro Leonhardt
Secluded in turns #1 (2014)
150 x 68 x 68 cm, whole and cut tire
Artist : Alejandro Leonhardt
New protocols (2011 – 2017)
variable dimensions, 10 different sizes row separator
Artist : Alejandro Leonhardt
Another fascist whim (2015)
115 x 62 x 8 cm, vacum cleaner hose, golf club
Artist : Alejandro Leonhardt
Cleaning stain for vain mites (2014)
variable size, cut out carpet
Artist : Alejandro Leonhardt
The stubbornness of a structure for maintaining its posture (2014)
190 x 100 x 100 cm, dismounted parasol and belt
“I don´t know how the computer´s keys are made, but I´m pressing them, and letters show up on a screen that I don´t know how it´s made either.”
Alejandro Leonhardt Santiago, Chile. April 21, 2020
Artist : Alex Yudzon
Cobh, Ireland, No.4 (July 21, 2019)
66 × 55,9 cm, archival pigment print
Artist : Alex Yudzon
Colchester, VT, no.2 (November 14, 2019)
66 × 55,9 cm, archival pigment print
Artist : Alex Yudzon
Marfa,TX, no.3B (April 20, 2019)
66 × 55,9 cm, archival pigment print
Artist : Alex Yudzon
Marfa, TX, no.4 (April 20, 2019)
66 × 55,9 cm, archival pigment print
Hotel rooms are mysterious spaces, charged with a blend of loneliness and desire they give the appearance of comfort while offering none of the relief of a real home and ultimately belong to no one. This contradictory aspect of travel, our desire to find a home in the far away and distant lands we escape to in order to get away from home, is at the heart of the series A Room for the Night.
Begun in 2014, A Room for the Night is an ongoing series of images made entirely in hotel rooms. Traveling to different hotels around the world, I secretly make and photograph temporary sculptural assemblages using only the furniture and objects found in each room. Working mostly at night, I stack, lean and balance furniture in configurations that range from the formal to the surreal. These sculptural installations transform the mundane familiarity of the room into a theater of beauty and absurdity. Upturned stacks of dressers and nightstands become tribal totems, mattresses are leaned against walls to reveal garish designs beneath the sheets, and chairs and side tables are assembled in unexpected combinations evoking modernist sculptures and minimalist installations. After these sculptures are completed they are photographed in an austere style reminiscent of crime scene photography. I work alone and after I am done the room is carefully restored to its original condition.
My work combines humor and pathos to reveal the anonymous dreams, desires, transgressions and fantasies that all rooms secretly contain. I work while I travel, each room becomes a memory of the past, each photograph a memory object, an affirmation that the most mundane surroundings hold a potential world of wonderment and meaning.
Alex Yudzon, artist
Artist : Alex Yudzon
Middletown, RI (November 10, 2019)
66 × 55,9 cm, archival pigment print
Artist : Alex Yudzon
Flowers and Bulbs. From the Still Life series (2016)
66 x 53 cm, archival pigment print on paper
Artist : Alex Yudzon
Blue Window. From the Still Life series (2016)
66 x 53 cm, archival pigment print on paper
Having originally trained as a painter, my photography is deeply rooted in the practice and history of painting. The visual language of painting and my experience as an immigrant, the ineluctable sense that our world of plentitude masks a deep existential uncertainty, are the biggest influences on my work.
In my latest series of still life photographs I utilize the interrelated languages of painting and photography to examine our collective anxieties of social collapse. I am interested in 16th and 17th century master paintings as cultural wish symbols, and specifically the Vanitas genre of still life, which combine rotting food with various objects to emphasize the ephemerality of sensual experience.
The photographs are produced in staged environments and depict unnerving scenes of decadence. Profuse quantities of food are combined to create a surreal world that is both beautiful and grotesque.
Hand painted scenes or reproductions of famous paintings are used as backdrops to further emphasize the contrast between the idealized depictions in the backgrounds and the entropic arrangements in front of them. Seen together, these contradictory juxtapositions lend the work a dark, abject humor which both agitates and moderates our anxiety of collapse through overabundance.
Alex Yudzon, artist
Artist : Alex Yudzon
Pear with Tree. From the Still Life series (2015)
66 x 53 cm, archival pigment print on paper
“Without the terrible events of the world art would be mere decoration, an afterthought to a perfect existence.”
Alex Yudzon New York, USA. March 30, 2020
Artist : Alexander Roitburd
Portrait of a Lady in White (1993)
90 х 45 cm, collage on paper
Artist : Alexander Roitburd
Portrait of a Lady in White (1993)
90 х 45 cm, collage on paper
Artist : Alexander Roitburd
Portrait of a Lady in White (1993)
90 х 45 cm, collage on paper
“The time in which we live is characterized by the word “fucked up”. But do not despair. “Fucked up” was before us and will be after us. Otherwise, it would be boring.”
Alexander Roitburd Odessa, Ukraine. April 11, 2020
John 21:11
“Simon Peter climbed back into the boat and dragged the net ashore. It was full of 153 large fish, but even with so many the net was not torn”.
The „Miraculous Draught“ leads us to think about wonders as such, about our relationship to regular happiness and unexpected delight, eudaimonia and euphoria, pleasure and jubilation, joy and elation, which for us, human beings, are biologically and socially extremely conditioned.
People, as super-social organisms, seem to be condemned to eternal dissatisfaction and searching. Humans are driven to action, no matter how absurd and nonsensical their routine and patterns may be.
In contrast to it our new experiences and insights into the unknown and accidental just temporarily quench this perpetual thirst, shortly allowing us to see clearly hidden contexts and illuminate our minds in pink. In this sense, you may perceive this large scale site-specific installation as a revelation of possible future joy and nameless beauty, as a manifestation of bioethical abolitionism.
Paradise engineering is a main vision and an epiphany of new bioethics, which are an integral part of the seemingly unsubstantial installation hanging under the nave of St. John the Divine. The visionary process of creation appears to us as something real, but almost herculean and beyond any nature, as an adventurous development of our mind and imagination, which allow us to be predisposed in the supreme state of well-being, to be shortly enchanted.
Artist : Aljoscha
Miraculous Draught (2020)
St. John the Divine, New York
pigmented acrylic glass
Artist : Aljoscha
East Harlem, New York. From the Interventions series (2020)
pigmented acrylic glass, toys
Artist : Aljoscha
Alterocentric Eudaimonia (2019)
pigmented acrylic glass
“Bioism meets lovely unicorns”
Aljoscha New York, USA. February 27, 2020
Artist : Anders Krisar
Flesh Cloud (Photogram #1) (2014)
180 x 124 cm, chromogenic print mounted to aluminum
Artist : Anders Krisar
Flesh Cloud (Photogram #2) (2014)
180 x 124 cm, chromogenic print mounted to aluminum
Artist : Anders Krisar
Flesh Cloud (Photogram #3) (2014)
180 x 124 cm, chromogenic print mounted to aluminum
Artist : Anders Krisar
Flesh Cloud (Photogram #4) (2014)
180 x 124 cm, chromogenic print mounted to aluminum
Artist : Anders Krisar
Flesh Cloud (Photogram #5) (2014)
180 x 124 cm, chromogenic print mounted to aluminum
“When you can’t go outside, go inside.”
Anders Krisar Stockholm, Sweden. April 9, 2020
Artist : Andriy Sagaidakovsky
Where are you? (2013)
150 х 200 cm, mixed media on carpet
Artist : Andriy Sagaidakovsky
Landscape (2008)
200 х 150 cm, oil on carpet
Artist : Andriy Sagaidakovsky
From the Anatomy studies series (late 1980s)
oil, chalk and mixed technique on canvas
Each generation lives in strange times. If you don’t notice it, then you are thoughtless. I have to admit that the perception of every strange time differs for different generations. No matter what generation you belong to, if you are bored of living, there is nothing to do with it.
Andriy Sagaidakovsky Lviv, Ukraine. April 24, 2020
Artist : Birgit Bjerre
Holding Darkness (2020)
130 x 100 cm, oil crayon and Ink on paper
Artist : Birgit Bjerre
Moving Vertical and Opposite (2020)
120 x 100 cm, oil on glued canvas
Artist : Birgit Bjerre
Oil and Water forever (2020)
100 x 125 cm, oil crayon and Ink on paper
“The human population of the earth is a middle-aged stupid man in bad shape. He is possessed with new gadgets and it is difficult for him to change his habits. I am afraid a pandemic will not change this. However, there is hope.”
Birgit Bjerre Aarhus, Denmark. June 8, 2020
Artist : David Baskin
Publius no. 1. From the Founding Fathers series (2020)
110 x 83 cm, inkjet print
Artist : David Baskin
Publius no. 2. From the Founding Fathers series (2020)
110 x 83 cm, inkjet print
Artist : David Baskin
Publius no. 3. From the Founding Fathers series (2020)
110 x 83 cm, inkjet print
Artist : David Baskin
Publius no. 4. From the Founding Fathers series (2020)
110 x 83 cm, inkjet print
The Founding Fathers Project is a series of layered prints. One presidential portrait was printed directly on top of the other until the images become distorted and the paper becomes saturated with ink.
David Baskin
Artist : David Baskin
Publius no. 5. From the Founding Fathers series (2020)
110 x 83 cm, inkjet print
Artist : David Baskin
George Washington (2020)
55 x 40 x 30 cm, cast bronze, silver nitrate patina
Artist : David Baskin
George Washington (2020)
55 x 40 x 30 cm, cast bronze, silver nitrate patina
“This virus has exposed the extreme inequities in our society and the failure of a democratically elected government to perform some of its fundamental responsibilities.”
David Baskin New York, USA. April 12, 2020
Artist : David Czupryn
Cupreous sheet bird (2020)
190 x 130 cm, oil on canvas
Artist : David Czupryn
Best friend (2020)
240 x 180 cm, oil on canvas
Artist : David Czupryn
Gamechanger (2019)
170 x 140 cm, oil on canvas
Artist : David Czupryn
Pusher (2019)
170 x 130 cm, oil on canvas
Artist : David Czupryn
There is nothing left, there is nothing right (2019)
200 x 250 cm, oil on canvas
“I wanted to discover art and works of art in various parts of Europe, gather new impressions, review Europe’s history and get to know it differently. Sadly, Europe became an epicenter of a new global pandemic. Public life was largely paralyzed. I found luck in misfortune. Instead of traveling through Europe, I’m with my parents for an undefined time.”
David Czupryn Duisburg, Germany. April 6, 2020
Artist : Einar Falur Ingolfsson
Artist's studio during the pandemic (2020)
64 x 80 cm, inkjet print
Artist : Einar Falur Ingolfsson
For Self-Isolation (2020)
56 x 80 cm, inkjet print
Artist : Einar Falur Ingolfsson
For Self-Isolation II (2020)
40 x 50 cm, inkjet print
Artist : Einar Falur Ingolfsson
Elinborg's Quarantine on the Heath (2020)
56 x 80 cm, inkjet print
Artist : Einar Falur Ingolfsson
A Year. Vopnafjörður, Iceland, September (2018) and September (2019)
56 x 80 cm, inkjet print
“Strange times, strange times. It is hard to escape clichés looking for words to describe the times we are living – that’s one reason I am looking for how artists deal with the unique experience, now and in the future. I let my work talk for me.”
Einar Falur Ingolfsson Reykjavík, Iceland. May 23, 2020
Artist : Erik Sommer
Untitled (2020)
244 cm x 366 cm, street posters on wood
Artist : Erik Sommer
Caleb's Green (2020)
92 x 92 cm, street posters and drywall on canvas
Artist : Erik Sommer
The Candy Store (2020)
92 x 92 cm, street posters and drywall on canvas
Artist : Erik Sommer
1 Hour Tooth Whitening (2018)
site specific installation (Deli Grocery, Brooklyn)
Artist : Erik Sommer
Volvo 240 (2017)
site specific installation (Fastnet, Brooklyn)
Artist : Erik Sommer
Die Chemische Reinigung (2016)
site specific installation (i.a.m, Berlin)
Artist : Erik Sommer
Painting, Interior (2015)
site specific installation (Academic, Brooklyn)
“The whole world is taking a time-out. Hopefully we will return wiser and safer and learn from our mistakes. It is exciting, and hopeful, to think about, but for the time being the most we can do is take it day by day, hour by hour, and remain optimistic, patient and considerate. Be kind, and wash your hands.”
Erik Sommer New York City, April 27, 2020
Artist : Felix Schramm
Dark Site #30 (2020)
200 x 150 x 5 cm, dust, silverleaf, acrilic
Artist : Felix Schramm
Dark Site #15 (2020)
130 x 100 x 5 cm, dust, silverleaf, acrilic
Artist : Felix Schramm
Transom (2019)
4,6 x 4,3 x 5,7 m, plasterboard, wood, color
Artist : Felix Schramm
Accumulated (Encounter) (2015)
176 x 50 x 50 cm, glass, epoxy resin, filler paste, plaster, wax, plasterboard, paint, wood, synthetic moss, synthetic turf
Artist : Felix Schramm
Savage Salvage (2008)
7 x 9 x 35 m, plasterboard, wood, metal, colours
Artist : Felix Schramm
Untitled (2007)
3,5 x 4.5 x 6 m, plasterboard, wood, metal, colours
“Stranges Times are good times. Sometimes we have the possibility to observe our circumstances in a new light.
The current pandemic gives us the opportunity to reflect on the things that surround us. In this moment ossified structures in society can be analyzed and changed.
In my opinion, art should be subversive. I try to work according to the principle of disruption — a disruption of known structures and also of existing conventions. This is a subversive act that enables new perspectives, dialogues and views..”
Felix Schramm Düsseldorf, Germany. May 7, 2020
Artist : Fernando Moletta
Supersonic (2020)
30 x 42 cm, fine art print
Artist : Fernando Moletta
Same Feelings (2020)
42 x 30 cm, fine art print
Artist : Fernando Moletta
I give you money, you give me ideas (2019)
160 x 50 x 50 cm, installation, concrete blocks, office chair and book
Artist : Fernando Moletta
Brasilia won't let me get tired (2019)
38 x 70 x 20 cm, hanging folder, book clipping, flower, water and steel
“The cult of reason and intelligence, which was the foundation of capitalist development, marginalized and sanitized the conscience of our corporeality, our mortality, and our impermanence. We move from disciplinary society to the civilization of individualistic self-control without any psychic infrastructure.”
Fernando Moletta Curitiba, Brazil. April 1, 2020
Gene Kiegel’s Impact continues his exploration of universal code, which is manifested in this series through synthetic rather than organic material. Similar patterns emerge in the final forms, reasserting the presence of this universal language and nature’s powers of reclamation. At the same time, the forms appear somehow mutated, perhaps reflecting a landscape where the evidence of man’s activity has become irrevocably embedded into the earth’s geology.
In its physicality, the “Impact” series works manifest an unseen force exerted to its counterpart. The epoxy cast of force’s impact ignites a chemical reaction, which channels the universal language. The thrust of the work is at once physical and philosophical, juxtaposing themes of growth and decay, and probing mankind’s impact on the natural world. The artwork uncovers a new eco-system, suggesting that there can be no human action without nature’s reaction.
Gene Kiegel raises questions of legacy and preservation, or the forms natural life may take after its eradication. The series, which resembles coral or other natural structures, also investigates the relationship between creation and loss, as it relates to our future’s inevitable need to recreate what we have destroyed—and are irrevocably destroying still. The work inspires contemplation on creation, control, and loss, asking the viewer to consider the price that is paid when humankind indiscriminately exerts its will on our surroundings.
Artist : Gene Kiegel
Untitled. From the Impact series (2019)
180 х 180 х 60 cm, epoxy resin
Artist : Gene Kiegel
Untitled. From the Monument series (2017)
encaustic medium with embedded metal
Artist : Gene Kiegel
Untitled. From the Monument series (2017)
pigmented epoxy resin, copper and other ground metal pigments
Artist : Gene Kiegel
Untitled. From the Monument series (2017)
pigmented epoxy resin, copper and other ground metal pigments
The “Monuments” series considers the origins of landscapes. Using wax and metal, Gene Kiegel simulates the epic energy exchange as molten lava breaks from Earth’s core through the outer surface, finally succumbing to its solid state – this invasion is captured in its historical monumental format.
The works, which resemble magmatic rocks, derive from Kiegel’s interest in creation and destruction — seemingly binary forces that frequently inform, or allow for, one another. Destruction is both the end of one entity and the beginning of another: a matter ready to bear new life.
Artist : Gene Kiegel
Untitled. From the Monument series (2017)
pigmented epoxy resin, copper and other ground metal pigments
“Art, in any shape of form, is the key to our continued survival.”
Gene Kiegel New York, USA. April 16, 2020
Artist : Giulio Malinverni
The Sower (2020)
23 x 31 cm, tempera on paper mounted on canvas
Artist : Giulio Malinverni
Eggs in Purgatory (2020)
23 x 31 cm, tempera on paper mounted on canvas
Artist : Giulio Malinverni
Spring Fur (2019)
150 x 200 cm, tempera and oil on canvas
Artist : Giulio Malinverni
The Shadow of the Beating (2019)
214 x 348 cm, oil on canvas
Artist : Giulio Malinverni
Pareidolia (2019)
200 x 250 cm, oil on canvas
Artist : Giulio Malinverni
McLeod (2019)
50 x 35 cm, tempera on canvas
“My thoughts and my work during this quarantine are strictly linked to the historical period that the whole world population is experiencing –”The Strange Time”. By reflecting a lot on my work and exploiting this time in a productive way, I am creating paintings that want to allude to a “new Renaissance”, because I believe that after all this situation there will be a great need.”
Giulio Malinverni Venezia, Italy. March 29, 2020
Artist : Guillermo Mora
Strangers always - Part I (2019)
70 x 31 x 16 cm, transparent tape
Artist : Guillermo Mora
Half you, half me (Gerardo) (2018)
140 x 48 x 49 cm, layers of acrylic paint folded, wooden easel
“The work ‘I want I don’t want’ from 2017 is mobile, it’s sort of free drawing in the space. Somehow, throw its title, it reflects a contradiction between strength and weakness, certainty and doubt.”
Guillermo Mora, artist
Artist : Guillermo Mora
I want I don’t want (2017)
variable dimensions (mobile piece), paper, gesso, acrylic paint, silicone bands, strings and wood
“add, subtract, multiply and divide”
Guillermo Mora Madrid, Spain. April 15, 2020
Artist : Hannah Hallermann
Hürde (with a warm eye) (2018)
racks: 118 x 18 cm, bar: 190 x 9 cm, steel, paint, loam, hay, aluminum, spot
Artist : Hannah Hallermann
Startblock 6,7,4 (2018)
73 x 45 x 30 cm, corten steel, concrete & hay, concrete & stones
Artist : Hannah Hallermann
Startblock 2,3,4 (2017)
73 x 45 x 30 cm, concrete & recycled oil, concrete & hay, stainless steel handpolished
Artist : Hannah Hallermann
Startblock 4 (2017)
73 x 45 x 30 cm, concrete & recycled oil
“Juggling the social, economic, ethical and spiritual questions all at once is crucial in trying to gain perspective. One aspect that fuels my work is the effect of different starting conditions in life and whom meritocracy favors.”
Hannah Hallermann Berlin, Germany. April 17, 2020
Artist : Hans Kotter
Bad Luck (2021)
155 x 50 x 50 cm, wood, bird, LED light, bird, light arrow
Artist : Hans Kotter
Bad Luck (2021)
155 x 50 x 50 cm, wood, bird, LED light, bird, light arrow
Artist : Hans Kotter
Perfect Angle (2018)
170 x 140 cm, 6 plexiglas plates, LED (white), metal, wood
Artist : Hans Kotter
Perfect Angle (2018)
170 x 140 cm, 6 plexiglas plates, LED (white), metal, wood
Artist : Hans Kotter
Big Bang…. Interruption (2013)
160 x 110 x 210 cm, wood, plexiglas, glass, metal, mirrors, LED lights
Artist : Hans Kotter
Almost (2012)
250 x 150 x 200 cm, metal, plexiglas, LED (white), trailer
Artist : Hans Kotter
Almost (2012)
250 x 150 x 200 cm, metal, plexiglas, LED (white), trailer
“Art is a daughter of freedom” (Friedrich Schiller) – I am convinced that there is also something positive in every crisis. Only through the loss or restriction of freedom, one becomes aware that it is not a matter of course. Therefore, my hope is that we have learned something about ourselves from these strange times.
Hans Kotter Berlin, Germany, March 23, 2022
Artist : Jakub Hubalek
Untitled (2020)
175 x 160 cm, oil on canvas
Artist : Jakub Hubalek
Aristocracy (2018)
180 x 160 cm, oil on canvas
Artist : Jakub Hubalek
Prague (2017)
100 x 100 cm, oil on canvas
Artist : Jakub Hubalek
Untitled (2016)
200 x 180 cm, oil on canvas
Artist : Jakub Hubalek
Self-portrait (2012)
190 x 190 cm, oil on canvas
Artist : Jakub Hubalek
Studio (2012)
250 x 175 cm, oil on canvas
“We live in the Internet era, everything is connected as never before.”
Jakub Hubalek Prague, Czech Republic. April 27, 2020
“This Strange Time is like a meditation, alternating between open, infinite space and a dust storm of thoughts and information. I feel encouraged that within the chaos we are finding our way and reflecting our experiences through art.”
Janessa Clark New York, USA. April 21, 2020
Artist : Jesu Moratiel
Mitochondrial Eve (2019)
60 x 50 cm, digital print on canvas
Artist : Jesu Moratiel
Degradation of a Kiss III (2018)
60 x 45 cm, digital print on canvas
“The organism goes into torpor. Its integrity is tested. We are going through the ordeal of our own fragility. We are beautiful being fragile, we are beautiful being an organism, we are beautiful being warm individuals.”
Jesu Moratiel A Coruña, Spain. April 6, 2020
Artist : Jochen Mühlenbrink
The Grand LT (2020)
280 x 200 cm, oil on canvas
Installation view in Kunstmuseum Solingen, Germany (2020)
Foto by Johannes Bendzulla
Artist : Jochen Mühlenbrink
The Grand LT (2020)
280 x 200 cm, oil on canvas
Artist : Jochen Mühlenbrink
The Grand TP (2020)
280 x 200 cm, oil on canvas
Artist : Jochen Mühlenbrink
Tape Over (Las Meninas) (2009-2019)
205 x 170 cm, oil on canvas
Artist : Jochen Mühlenbrink
Dawn (2019)
200 x 300 cm, oil on canvas
Artist : Jochen Mühlenbrink
Window Widow (2019)
150 x 180 cm, oil on canvas
Artist : Jochen Mühlenbrink
Untitled WP (2018)
180 x 150 cm, oil on canvas
Artist : Jochen Mühlenbrink
KOL (WP) (2018)
80 x 100 cm, oil on canvas
“Time, to meet the stranger in oneself.”
Jochen Mühlenbrink Düsseldorf, Germany. June 27, 2020
Artist : Jofroi Amaral
Black form on a flower field (2019)
300 x 230 cm, painting on loose textile
Artist : Jofroi Amaral
Blue Fox (2016)
160 x 190 cm, painting on canvas / 36 x 33 x 53 cm, painting on fox
Artist : Jofroi Amaral
Chromatic Jungle (2016)
installation, group of several paintings done with plants, objects, photographies and plants
Artist : Jofroi Amaral
Yucca Blue (2016)
painting performance
“It’s interesting to see how mass medias can distort the world and build new paradigms. Death is no longer part of our societies. We need to hide it at any price.”
Jofroi Amaral Brussels, Belgium. May 7, 2020
Artist : Kenny Scharf
In The Beginning (2019)
152,4 × 121,9 cm, oil, acrylic and diamond dust on linen
Artist : Kenny Scharf
Fuzzjungle (2019)
101,5 x 101,5 cm, oil and acrylic on linen
Artist : Kenny Scharf
Out of the Void (2019)
152,5 x 183 cm, oil and acrylic on linen
“I wish I had answers, I don’t. This pandemic has afforded us the moment to pause and think about the direction we are speeding into. I hope despite all the suffering this leads to new ways of living. I hope it brings down the destructive corrupt powers that seemingly are unstoppable. As an artist all I can do is reflect, warn, and offer hope.”
Kenny Scharf New York City, May 6, 2020
Artist : Khairullah Rahim
Bird Feeder (2020)
60 x 50 cm, mixed media assemblage on wooden panel
Artist : Khairullah Rahim
Silly Gatekeeper (2020)
85 x 61 cm, mixed media assemblage on wooden panel
Artist : Khairullah Rahim
Eye Candy (2020)
90 x 47 cm, mixed media assemblage on wooden panel
Artist : Khairullah Rahim
Vivacious Fellowship (2020)
dimensions variable, mixed media assemblage
Artist : Khairullah Rahim
Intimate Apparitions (installation view) (2019)
dimensions variable, mixed media installation, manipulated found objects and readymades
Artist : Khairullah Rahim
Intimate Apparitions (detail) (2019)
dimensions variable, mixed media installation, manipulated found objects and readymades
Artist : Khairullah Rahim
Intimate Apparitions (sighting) (2019)
digital image (in collaboration with Taufiq Rahman)
Artist : Khairullah Rahim
The Incredible Frolic (installation view) (2018)
dimensions variable, manipulated found objects and readymades
Artist : Khairullah Rahim
The Incredible Frolic (detail) (2018)
dimensions variable, manipulated found objects and readymades
Artist : Khairullah Rahim
The Incredible Frolic (detail) (2018)
dimensions variable, manipulated found objects and readymades
“People from various disciplines are coming together, garnering strength in numbers rather than acting alone as modes of working and creating are also being challenged and shifting.”
Khairullah Rahim Singapore. June 9, 2020
Artist : lom-of-LaMa
Shareholder (2020)
127 х 59 х 110 cm, modified shopping carts
Artist : lom-of-LaMa
Me (2019)
100 x 100 cm, steelframed fine art print
Artist : lom-of-LaMa
Relationship system (2019)
158 x 101 x 100 cm, interactive sculpture
Artist : lom-of-LaMa
Coupled corporeality (2019)
28 x 19 x 9 cm, interactive object
“if sense synchronizes
we are each other’s space
and face and matter
for mutual projections of the immaterial.
skin on skin transpires over
to self and fiction
into the shell of another
reflection of many realities.”
lom-of-LaMa Dortmund, Germany. May 2, 2020
Artist : Lucien Dulfan
World War I Veteran. From the Homeless series (2020)
180 х 110 cm, mixed media on plywood
Artist : Lucien Dulfan
Violinist. From the Homeless series (2019)
180 х 110 cm, mixed media on plywood
Artist : Lucien Dulfan
Homeless Dream. From the Homeless series (2019)
180 х 110 cm, mixed media on plywood
Artist : Lucien Dulfan
Triptych. From the Homeless series (2018)
180 х 100 cm (each), mixed media on plywood
Artist : Lucien Dulfan
Night's Sleep. From the Homeless series (2017)
180 х 320 cm (7 parts), mixed media on plywood
“The artist LIVES CONSTANTLY in “STRANGE TIME”’ – regardless of war, plague, coronavirus… TIME is ALWAYS “STRANGE” for those who are looking deep into ONESELVES! EVERYDAY! EVERY HOUR! EVERY MINUTE …. is STRANGE!”
Lucien Dulfan North Miami Beach, USA. April 15, 2020
Installation detail, SAM Shepparton Art Gallery and Museum, Australia
Artist : Lynda Draper
Somnambulism (2019)
size varies, ceramic various glazes
Installation detail, SAM Shepparton Art Gallery and Museum, Australia
Artist : Lynda Draper
Somnambulism (2019)
size varies, ceramic various glazes
Artist : Lynda Draper
Spring (2018)
80 x 55 x 50 cm, ceramic various glazes
Artist : Lynda Draper
Mary Mary (2015)
86 x 25 x 23 cm, ceramic various glazes
Artist : Lynda Draper
Annette (2012)
52 x 47 x 31 cm, ceramic various glazes
Artist : Lynda Draper
Tiara (2015)
35 x 30 x 30 cm, ceramic various glazes
“TURN TURN TURN”
Lynda Draper Thirroul, Australia. May 30, 2020
Artist : Marina Skugareva
Anemone Nemorosa. From the Nyzhni Sady series (2020)
42 x 29,7 cm, paper, mixed media
Artist : Marina Skugareva
Datura stramonium. From the Nyzhni Sady series (2020)
42 x 29,7 cm, paper, mixed media
Artist : Marina Skugareva
Iris Germanica. From the Nyzhni Sady series (2020)
42 x 29,7 cm, paper, mixed media
Artist : Marina Skugareva
Primula Auricula. From the Nyzhni Sady series (2020)
42 x 29,7 cm, paper, mixed media
“I still can’t realize what is happening now, that will come later, but it’s already clear we will remember this time for the rest of our lives. It seems to me that something completely new and beautiful will soon happen to all of us.”
Marina Skugareva Kyiv, Ukraine. April 19, 2020
Contrary to the claims of scientists, the Mayan calendar turned out to be erroneous, and 2012 fell on 2020.
Mykola Matsenko, artist
Artist : Mykola Matsenko
Calendar (2012)
160 x 160 cm, acrylic and marker on canvas
“I have a feeling that the world is on the verge of radical change. We will either slip into the dark abyss or climb the shining peak. The place of the artist is in the team of Sherpas…”
Mykola Matsenko Cherkasy, Ukraine. April 28, 2020
Nicolas Vionnet’s Always Let the Dust Settle First refers to the old German saying, “Gras über etwas wachsen lassen” (let grass grow over a thing) which means that something hopefully falls into oblivion after a certain time. “If you want to let grass grow over a thing, you are faced with a fundamental problem. Something should be forgotten,” states Vionnet. “You try to do this by covering something – in this case with grass – that otherwise would immediately catch the eye of an observer and evoke an unwanted memory. Forgetting is the loss of memory – it is in one person’s interest to prevent the memory of others.”
Artist : Nicolas Vionnet
Always Let the Dust Settle First (2019)
4 x 16 x 7 cm, vintage pocket watches, potting soil
Always Stand on The Bright Side of Life is a sculptural work by Swiss artist Nicolas Vionnet. Through the careful selection of materials, Vionnet succeeds in merging two completely different objects in a humorous and believable way. Although irony is clearly in the foreground, at second glance the work addresses serious themes such as aging, loneliness and loss of control.
Artist : Nicolas Vionnet
Always Stand on The Bright Side of Life (2019)
250 x 80 x 55 cm, steel walker, pipe extension, lamp shade, light bulbs
“In times like these, the relationship to one’s own work becomes even stronger. It is like a good friend who is always there for you and on whom you can rely.”
Nicolas Vionnet Zurich, Switzerland. May 22, 2020
Artist : Nik Ramage
Sphere (2019)
70 x 69 x 68 cm, oak, castors. From the Colección SOLO
“A tiny, new organism is spreading across the world and is changing all human behavior. For most of us, our lives are frozen, other parts slowed, while nature keeps happening. Society paused. Lots of artists work in solitude in normal times anyway.”
Nik Ramage London, United Kingdom. April 17, 2020
Artist : Nikita Storozhkov
Untitled (2018)
39 x 29,5 cm, paper, pen
Artist : Nikita Storozhkov
Untitled (2015)
43 x 30,5 cm, paper, pen
Artist : Nikita Storozhkov
Untitled (2015)
45 x 32 cm, paper, pen
Artist : Nikita Storozhkov
Untitled (2015)
45 x 32 cm, paper, pen
Artist : Nikita Storozhkov
Untitled (2015)
45 x 32 cm, paper, pen
Artist : Nikita Storozhkov
Untitled (2015)
45 x 32 cm, paper, pen
“It is time for opportunities. If before everything was monotonous, now it has the color: yellow, orange – sunny. What gives such color? A dream and a desire to strive for something.”
Nikita Storozhkov Kyiv, Ukraine. June 19, 2020
I kind of knew that I can not control what happens.
I am always an observer.
I can only recognize what is happening in front of me (and decide what it means to me)
But at least, I think I have the freedom to choose if I want to stay in the same place or move on.
We are always in uncertain strange time.
Noriko Okaku London, United Kingdom. April 2, 2020
Artist : Oleg Tistol
Europe II (2020)
290 x 200 cm, oil and acrylic on canvas
Europe is not as easy as it might seem at first glance.
Oleg Tistol, artist
Artist : Oleg Tistol
Europe (2019)
290 x 200 cm, oil and acrylic on canvas
Artist : Oleg Tistol
Vietnam (2018)
195 x 140 cm, oil and acrylic on canvas
When looking at Asia, I always try to distinguish my characters one from the other. And from that mirror the impressive eyes looking at me and do not exactly distinguish me from other “mine.”
Oleg Tistol, artist
Artist : Oleg Tistol
Ten (2018)
200 x 150 cm, oil and acrylic on canvas
“I’ve always hoped that being an artist would be an anonymous profession. It would probably be nice to live in the shadow of own works; but very rarely, was it possible to organize a real QUARANTINE.”
Oleg Tistol Kyiv, Ukraine. April 18, 2020
Artist : Omri Harmelin
Foundation (2019)
dimensions variable, concrete and rebar
Artist : Omri Harmelin
White Lie (2016)
80 x 80 x 60 cm, educational chair, concrete, chalkboard paint, white chalk
“Limitations on movement, space and interaction are being forced on us with no exceptions, resulting many creative responses.”
Omri Harmelin Tel-Aviv, Israel. April 23, 2020
Artist : Paul Cooley
Thanks #9 (2020)
150 х 100 cm, oil on acrylic
Artist : Paul Cooley
Thanks #8 (2020)
150 х 100 cm, oil on acrylic
Artist : Paul Cooley
Thanks #5 (2020)
150 х 100 cm, oil on acrylic
Artist : Paul Cooley
Thanks #4 (2020)
120 х 120 cm, oil on acrylic
“This time is just full of unknown things. Unknowns are scary and exciting and hard to deal with all at once. It can be very good for us to experience scary and hard things because these are the experiences that teach us the most. If we are learning then we are alive.”
Paul Cooley New York City, April 27, 2020
“…This situation is a reflection of anthropocentrism, humankind is facing the effects of the Anthropocene, of the lack of concern with others and with this planet and, it’s a simple reaction to such continuous aggression.”
Paulo Arraiano Lisbon, Portugal. April 9, 2020
Artist : Pavlo Kerestey
Balancing (2019)
120 x 80 cm, oil on canvas
Artist : Pavlo Kerestey
Asteroids in the Evening (2019)
190 x 150 cm, oil and acrylic on canvas
Artist : Pavlo Kerestey
Painting a Bomb, in Pink Dots (2019)
90 x 60 cm, oil on canvas
Artist : Pavlo Kerestey
Painting a Bomb, in Blue Dots (2019)
90 x 60 cm, oil on canvas
Artist : Pavlo Kerestey
Last Entrance (2018)
200 x 150 cm, oil on canvas
“… I returned after sunset with my video projector and started projecting films onto the facade of the abandoned cinema, now open for everyone again. Soon friends and strangers gathered. Over the next 45 days we met every single night at ten o’clock to watch films together, to drink and talk outside the old cinema.”
Pavlo Kerestey London, United Kingdom. April 28, 2020
Artist : Pedro Matos
Untitled (2020)
50 x 40 cm, acrylic enamel on cotton, acrylic enamel on canvas
Artist : Pedro Matos
Untitled (2019)
180 x 100 cm, acrylic enamel on cotton, acrylic enamel on canvas
Artist : Pedro Matos
Untitled (2019)
180 x 100 cm, acrylic enamel on cotton, acrylic enamel on canvas
Artist : Pedro Matos
Anxiety (2019)
vinyl lettering on wall, dimensions variable
Artist : Pedro Matos
Leave no Trace (2019)
vinyl lettering on wall, dimensions variable
Artist : Pedro Matos
Nothing is Available (2019)
vinyl lettering on wall, dimensions variable
“Historically, wars and crises have brought great changes and developments in art and I am sure this will also be the case with this pandemic and economic depression, but it is still too early to tell how. Art and Culture will always be necessary and part of humanity, but in this stage of emergency health and safety is the priority. Creativity, change and better times will come later.”
Pedro Matos Lisbon, Portugal. March 31, 2020
Artist : Philip Loersch
Von Don (2020)
50 x 55 x 20 cm (3 parts), pencil, china ink, acrylic, varnish on soapstone
Artist : Philip Loersch
Kritisch Museum Guide (front) (2019)
30 x 40 x 5 cm, oil, china ink, pencil, varnish on soapstone
Artist : Philip Loersch
Kritisch Museum Guide (back) (2019)
30 x 40 x 5 cm, oil, china ink, pencil, varnish on soapstone
Artist : Philip Loersch
Deutsche Rentenversicherung Bunt (2019-2020)
64 x 96 cm, colored pencil on paper
Artist : Philip Loersch
Hidden Michelangelo (front) (2019)
33,5 x 58 x 37 cm, oil, china ink, pencil, colored pencil, varnish on soapstone
Artist : Philip Loersch
Hidden Michelangelo (back) (2019)
33,5 x 58 x 37 cm, oil, china ink, pencil, colored pencil, varnish on soapstone
Artist : Philip Loersch
Der alte Garten (2018)
63 x 95 cm, colored pencil on paper
Artist : Philip Loersch
Turn it up! (2018)
30 x 58 x 14,5 cm, pencil, china ink, polishing oil, varnish on soapstone
Artist : Philip Loersch
Halber Kirschbaum (2018)
35 x 45 x 10 cm, acrylic, china ink, varnish on soapstone
“The moment you take off the stuffy and stinky mask after visiting the supermarket – you can have the same feeling while looking at a great drawing. Take a breath and feel life.”
Philip Loersch Munich, Germany. June 9, 2020
Courtesy: Sarieva Gallery, Plovdiv, Bulgaria
Artist : Pravdoliub Ivanov
A Clockwork Sweat (part of the project Robots don’t sweat) (2016-2019)
207 x 120 x 66 cm, artificial sweat, clockwork robotic system, old T-shirt
Courtesy: Sarieva Gallery, Plovdiv, Bulgaria
Artist : Pravdoliub Ivanov
A Clockwork Sweat (part of the project Robots don’t sweat) (2016-2019)
207 x 120 x 66 cm, artificial sweat, clockwork robotic system, old T-shirt
Courtesy: Sarieva Gallery, Plovdiv, Bulgaria
Artist : Pravdoliub Ivanov
A Clockwork Sweat (part of the project Robots don’t sweat) (2016-2019)
207 x 120 x 66 cm, artificial sweat, clockwork robotic system, old T-shirt
installation view
Artist : Pravdoliub Ivanov
Natural Fear (2014-2016)
HD video, sound, 2’30”
installation view
Artist : Pravdoliub Ivanov
Natural Fear (2014-2016)
HD video, sound, 2’30”
Artist : Pravdoliub Ivanov
Fairy-Tale Device Crashed (2013)
275 x 420 x 88,5 cm, installation, cut carpet, hidden aluminium construction
Collection Vehbi Koç Foundation, contemporary art museum Arter, Istanbul
Artist : Pravdoliub Ivanov
Fairy-Tale Device Crashed (2013)
275 x 420 x 88,5 cm, installation, cut carpet, hidden aluminium construction
Collection Vehbi Koç Foundation, contemporary art museum Arter, Istanbul
Artist : Pravdoliub Ivanov
Rise to Score (2011)
480 cm, metal construction, basketball set, artificial palm tree, plastic pottery
Block collection, on permanent loan to Neues Museum Nürnberg, Germany
Artist : Pravdoliub Ivanov
Territories (1995)
installation, soil, fabric, wood, metal
Block collection, on permanent loan to Neues Museum Nürnberg, Germany
Artist : Pravdoliub Ivanov
Territories (1995)
installation, soil, fabric, wood, metal
All-times are strange as we are not prepared to them. We fill them strange cause we consider so many things for granted. The time is a line, while we are points. Points can’t fully understand the line, especially when it is a convulsed, meaningless scratch.
Pravdoliub Ivanov Sofia, Bulgaria, May, 2022
Artist : Richie Culver
GOD (2020)
170 x 140 cm, acrylic on canvas
Artist : Richie Culver
Untitled (2019)
dimensions variable, acrylic and sports shoes on canvas
Artist : Richie Culver
Block A (2019)
dimensions variable, cement and sports shoe
Artist : Richie Culver
Block C (2019)
dimensions variable, cement and sports shoe
Artist : Richie Culver
Range Finder (2019)
dimensions variable, powder coated steel piping and toilet roll
Artist : Richie Culver
#4 Cum Yet (2019)
160 x 130 cm, latex print and acrylic on canvas
“I think it is strange times for sure.”
Richie Culver London, United Kingdom. April 19, 2020
Artist : Robert Lazzarini
Police Barricade (2019)
96,5 x 304,8 x 109,2 cm, wood, paint, metal
Artist : Robert Lazzarini
No Trespassing Sign (2012)
55,9 x 58 x 2,5 cm, metal, paint, vinyl
Artist : Robert Lazzarini
Shotgun (sawed-off) (2011)
12,7 x 55,8 x 12,7 cm, metal, plastic
Artist : Robert Lazzarini
Safe (blown) (2011)
129,5 x 69 x 73,7 cm, metal and paint
Artist : Robert Lazzarini
Brass Knuckles (iv) (2010)
12,7 x 17,8 x 10,2 cm, brass, bronze
Artist : Robert Lazzarini
Target G-63 (2010)
91,4 x 66 x 2,5 cm, archival print, pigment, tape
“We go through our days doing the same shit we do every day. But there are things that knock us out of our daily routine, like death – namely other people’s death. Of course that makes us reflect upon our own mortality. This particular time exposes our shared vulnerabilities which feels like it’s an opportunity for collective introspection.”
Robert Lazzarini New York, USA. June 9, 2020
Artist : Roxanne Jackson
Blackhearted (2019)
38 x 43 x 23 cm, ceramic, glaze, luster, faux fur, candle, necklace, rhinestones, nail stickers
Artist : Roxanne Jackson
Lips Vase (2020)
19 x 40 cm, ceramic, glaze, luster
Artist : Roxanne Jackson
Medusa Mermaid (2020)
12 x 20 x 14 cm, ceramic, glaze, luster
“Following this ‘disaster,’ we will not be the same. We are all being asked to take a step back, to slow down, to breathe. Once we do come back together again, we will look different, we will be different and we will appreciate each other.”
Roxanne Jackson New York. April 14, 2020
Artist : Samuel Jablon
Fuck (2020)
198 x 178 cm, oil and acrylic on canvas
Artist : Samuel Jablon
Out of Control (2020)
122 x 102 cm, oil and acrylic on canvas
Artist : Samuel Jablon
Evil Flowers (2020)
152 x 127 cm, oil and acrylic on canvas
repetitive loop
day to day night to night
divided by meals
divided by packages
Samuel Jablon New York, USA. April 20, 2020
Artist : Sergei Sviatchenko
From the Less series (2019)
56 x 41 cm, c-print
Artist : Sergei Sviatchenko
From the Less series (2019)
56 x 41 cm, c-print
Artist : Sergei Sviatchenko
From the Less series (2019)
56 x 41 cm, c-print
Artist : Sergei Sviatchenko
From the Emotional Rescue series (2019)
41 х 58 cm, c-print
Artist : Sergei Sviatchenko
From the series Emotional rescue (2019)
58 x 41 cm, c-print
Artist : Sergei Sviatchenko
From the series Emotional rescue (2019)
41 х 58 cm, c-print
Standing unquiet with polished walking stick,
The coolly sour aftertaste from the anthills,
Thrusting your leg into the quaking wood,
Broken-hearted by the morbidly mad eyes.
And crumpling the clouds above the wood like pieces of paper.
When you left with remains of air, sun and years,
You sneaked back through the greasy grass as if it were butter,
Following those no longer existing.
Sergei Sviatchenko Viborg, Denmark. March 29, 2020
On March 22, 2020, putting things in order in my digital archive, I came across the work “Pink Fox”, which I created in 2018. At some point, I decided to open a working file and began to modify it. The color of the digital Paradise suddenly changed, the plastic image of the main character has gained different shape, most of the present characters has left the space. There was an alarm. A hunter appeared.
Stepan Ryabchenko, artist
Artist : Stepan Ryabchenko
The Hunter (2020)
digital print
The Ark is an image of the salvation of mankind in the digital age.
Stepan Ryabchenko, artist
Artist : Stepan Ryabchenko
The Ark (2013)
digital print
Due to the date of activation on April 26 and its destructive properties, this computer virus, which caused the “epidemic” in 1999 in a number of countries, was called “Chernobyl”. In the name of a terrible catastrophe that has taken many lives, with long-term consequences for the entire world, and has become a symbol of how fatal human carelessness, irresponsibility, and concealment of the truth can be. This work, created in 2011, is gaining new reading in today’s situation, where the world is gripped by a previously unknown virus that has been the first such a global test for humanity since the Chernobyl disaster.
Natalia Matsenko, art critic
Artist : Stepan Ryabchenko
Chernobyl. From the Computer Viruses series (2011)
digital print
‘The Temptation of St. Anthony’ by Stepan Ryabchenko is part of the large-scale project “Heroes” that was short-listed for PinchukArtPrize and chosen for the Ukrainian art landmark project at the National Art Museum “Myth. Ukrainian Baroque” along with well-known representatives of the “New Wave”. In his search for new forms of expressiveness within the framework of this plot, Stepan continues the tradition of its development by many artists, including Bosch and Dali. The plot, which in every era was presented as a phantasmagoric kaleidoscope of mythological characters, Biblical heroes, hints, and metaphors, our contemporary converts it into the new visual research using computer graphics tools. One of Ryabchenko’s formal goals is to unify abstract and figurative, which creates a possibility to implement one of the key desires of the (post)postmodern — to bring back the lost reality and to construct the new worlds. This work is the point of borderline collision with the past and a visual appeal to the future that defines present. It brings up to date the problem of testing with temptation that is an embodiment of a profound search of one’s Self.
Irina Iatsyk, art critic
Artist : Stepan Ryabchenko
The Temptation of St. Anthony (2010)
290 x 387 cm, digital print on aluminum
Artist : Stepan Ryabchenko
Lemon Chickens will escape... (2009)
290 x 681 cm, digital print on aluminum
“The time has come to think about what we are doing and why, the time to look deep into ourselves and return the light to art and, consequently, to our life.”
Stepan Ryabchenko Odessa, Ukraine. April 29, 2020
Location: Salt Lake City, Utah
Artist : Tom McFarland
“9010 State Street” 5/5 (2019)
152 x 6 x 183 cm, resin, joint compound, acrylic paint hardware, wood filler, aerosol paint, string, wood stain, pine stretchers
Location: Salt Lake City, Utah
Artist : Tom McFarland
“9010 State Street” 4/5 (2019)
76 x 6 x 103 cm, resin, joint compound, acrylic paint hardware, wood filler, aerosol paint, string, wood stain, pine stretchers
Location: white’s City, New Mexico
Artist : Tom McFarland
“727 Carlsbad Caverns Highway” 3/4 (2018)
127 x 6 x 183 cm, resin, joint compound, acrylic paint hardware, wood filler, aerosol paint, string, wood stain, pine stretchers
Location: White’s City, New Mexico
Artist : Tom McFarland
“727 Carlsbad Caverns Highway” 2/4 (2018)
127 x 6 x 183 cm, resin, joint compound, acrylic paint hardware, wood filler, aerosol paint, string, wood stain, pine stretchers
Location: Hobbs New Mexico
Artist : Tom McFarland
“3811 Roth Road” 1/4 (2017)
61 x 6 x 94 cm, resin, joint compound, acrylic paint hardware, wood filler, aerosol paint, string, wood stain, pine stretchers
“In these times, it’s like all of us are in bubble wrap, each separated in our own compartment. As the wrap is twisted and popped, everyone feels pushed, poked, or stabbed in the back. We don’t know why, how long it will last, or how long the healing will take. We all feel that our connections are damaged. My work gives me a reason to push forward and move on.”
Tom McFarland New York, USA. May 19, 2020
Artist : Valentin Abad
Résilience de la matière (Resilience of matter) (2018)
170 x 190 x 11 cm, solid fir
Artist : Valentin Abad
Ping Pong relationnel (Relational ping pong) (2018)
230 x 8 x 8 cm, fir
Artist : Valentin Abad
Enfant plante verte (Child green plant) (2017)
110 x 40 x 30 cm, plaster, green plant
Atlas in Greek mythology has been condemned to carry the weight of the world. When we feel overwhelmed during painful moment, we can feel it in a way. Ecrase tries to represent this emotion, this feeling of charge.
Valentin Abad
Artist : Valentin Abad
Écrase (Crushed) (2014)
48 x 38 x 10 cm, 4 sponges, gray granite
“I’m achieving one idea I have for years. I’m not happy with the volume of it but I succeed so it’s a great feeling. I think I would never go through if I didn’t get these strange days for me.”
Valentin Abad Montreuil, France. April 20, 2020
Artist : Vasiliy Ryabchenko
Repackaging (2020)
160 x 100 cm, digital print and oil on canvas (painting), 160 x 37 cm, stump, metal, concrete, expanded clay (installation)
Artist : Vasiliy Ryabchenko
Prayer (2020)
180 x 160 cm, digital print and oil on canvas
Artist : Vasiliy Ryabchenko
Copperas (2010)
135 х 100 cm, digital print and mixed media on canvas
Artist : Vasiliy Ryabchenko
The Flood (1990)
160 x 180 cm, oil on canvas
Artist : Vasiliy Ryabchenko
Grace Refusal (1989)
200 х 300 cm, oil on canvas
Artist : Vasiliy Ryabchenko
Undecipherable characters shore (1989)
200 х 400 cm (diptych), oil on canvas
“To give an assessment of the Time in which I live is meaningless for me and in my opinion leads to the appearance of the unproductive activity or vice versa to inaction, that distracts from LIFE itself, in which we are temporarily present, and the fact of our presence in time is beautiful.”
Vasiliy Ryabchenko Odessa, Ukraine. April 25, 2020
Artist : Vasiliy Tsagolov
The Carpathian portal. from the Ukrainian X-Files series (2018 – 2020)
185 x 225 cm, oil on canvas
Artist : Vasiliy Tsagolov
Artist and Model (2017–2018)
200 x 370 cm, oil on canvas
Artist : Vasiliy Tsagolov
Untitled (2008)
280 x 360 cm, oil on canvas
“Six months have passed since we were sent one after another into some kind of dislocation of space and time, into some kind of anomalous reality – into a vacuum. An artist cannot do anything with this.
Now everyone is on his own. Of the collective, only the unconscious was left to us. For an ordinary person, this is probably unbearable, for the artist, in the order of things. We used to be on our own and were “abnormal,” so nothing new happened to us.”
Vasiliy Tsagolov Kyiv, Ukraine. May 1, 2020
The main topic that I have been working on for many years, exploring and developing its figurative meanings was determined in the mid-1990s, and more precisely in 1996 in the work “Invasion” from the project “Amnesia”, where my character first appeared. For almost a century, in our country everyone wore underpants: soldiers, prisoners, civilians, all social strata – this was like a sign of a balanced, common fate. Then, while experiencing the complex and still not completed process of national self-determination, Ukraine rejected its Soviet past from its collective memory.
However, this is obviously impossible. Unconscious, unanalyzed experience returns to the public consciousness by unexplored myths, social complexes. For me, this character was the embodiment of the “drama of the impersonal”, “the man of the mass”, “one of many”, the community of fate that somehow united the generations of people of the 20th century, who have survived two World Wars, revolutions, years of totalitarianism.
So this character turned into a very capacious and multi-valued image, in every new context of its consideration filling with new, different content. It is significant that the viewers brought these meanings into their works by themselves, interpreting the works and comparing them with their experience and knowledge in their own way.
For me, this was not about specific historical events, but about a deep drama of time, which easily manipulates individual human life, dissolves personality in another ideological project…
Victor Sydorenko
Artist : Victor Sydorenko
Invasion (1996)
300 x 400 cm, oil and acrylic on canvas
“Self-isolation cinematically “stopped” the time, gave the opportunity to look deep into ourselves. The huge changes taking place in the modern world have touched all spheres of human life, including art, and spawned a whole industry of online culture. Shortly there will be a complete digitalization of the whole way of life shortly. And now the rehearsal of the future is taking place.”
Victor Sydorenko Kyiv, Ukraine. April 7, 2020
Artist : Victoria Keddie
Exercising Consumption#1 (2019)
UV print
Artist : Victoria Keddie
Exercising Consumption#2 (2019)
UV print
Artist : Victoria Keddie
Exercising Consumption#3 (2019)
UV print
Artist : Victoria Keddie
Exercising Consumption#4 (2019)
UV print
Artist : Victoria Keddie
Exercising Consumption#5 (2019)
UV print
Artist : Victoria Keddie
Exercising Consumption#6 (2019)
UV print
Artist : Victoria Keddie
Exercising Consumption#7 (2019)
UV print
Artist : Victoria Keddie
Exercising Consumption#8 (2019)
UV print
Artist : Victoria Keddie
Exercising Consumption#9 (2019)
UV print
Artist : Victoria Keddie
Exercising Consumption#10 (2019)
UV print
Artist : Victoria Keddie
Exercising Consumption#11 (2019)
UV print
Artist : Victoria Keddie
Exercising Consumption#12 (2019)
UV print
“The technologies built for transmission have shaped our ways of seeing, being, and communicating in the world. We find ourselves no longer participating at will, but engrossed in a system that merges the animate with the inanimate in a congealed machinic exchange between the signal and the receiver.”
Victoria Keddie New York, USA. April 13, 2020
Artist : William York
Ode to Lonnie (2019)
dimensions variable, found objects with concrete base
Artist : William York
BPX 1820 (2019)
dimensions variable, assembled found objects
An encounter is singular, unrepeatable and unpredictable. It marks not only a unique moment of temporary contact, but also the past and the future, makes them meaningful, defines them anew. Encounters are possibilities, to encounter something means to experience something. In this exhibition two artists explore the notion of the encounter from two very different perspectives, interconnected by the notion of the everyday. Everyday encounters: the familiar, the unexpected, the strange, the lost, the found. The everyday manifests itself in found objects that have been discarded and given a second life but also in technology that we are familiar with, yet never see.
William York’s work explores the ideas of ‘modern day’ abandonment and society’s ‘throw away’ culture. He creates sculptures out of objects that have been left in the urban environment of Berlin. These objects carry the traces of time passed within them, and at the same time hold possibilities for something new. The traces of time and decay with their faded colours are signifiers of the objects journey, they become part of what York calls “accidental compositions”.
Artist : William York
Re-Encountered (2019)
dimensions variable, site specific installation (Hosek Contemporary Berlin)
Artist : William York
DDR Dinge (2019)
dimensions variable, found objects set in concrete
Artist : William York
Rauchen Verboten (2019)
dimensions variable, found objects assembled
“I think its tough for everyone at the minute, artists included. As a naturally introspective bunch, we may have had to change our practice a little and may have had to make some compromises, but being confined really doesn’t stop us being able to create or think. In fact, this time should be viewed in a positive light. Now we can focus on our relationships, discipline and most importantly, our future selves.”
William York Birmingham, England. June 29, 2020
Artist : Yuko Soi
Life (2018)
91 x 72 cm, colored pencils on paper
Artist : Yuko Soi
Every Day (2012)
45 x 38 cm, colored pencils on paper
Artist : Yuko Soi
It's just a Fight (2010)
26 x 38 cm, colored pencils on paper
Artist : Yuko Soi
The One which was in the Delusion (2008)
25 x 36 cm, colored pencils on paper
Artist : Yuko Soi
The Answer is simple (2008)
18 x 14 cm, colored pencils on paper
Artist : Yuko Soi
Sad Woman (2007)
72 x 51 cm, colored pencils on paper
“Strange Time. I think it’s necessary, maybe.”
Yuko Soi Shizuoka-ken, Japan. June 5, 2020