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DRAG TO MOVE

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Alejandro Leonhardt - OK (2018)

Artist : Alejandro Leonhardt

OK (2018)
400 x 257 x 109 cm, broken windshields on scaffold

Alejandro Leonhardt - Impacts insist, while bodies resist (2018)

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

Alejandro Leonhardt - Indeterminate order #3: loop transmision (2017)

Artist : Alejandro Leonhardt

Secluded in turns #1 (2014)
150 x 68 x 68 cm, whole and cut tire

Alejandro Leonhardt - New protocols (2011 – 2017)

Artist : Alejandro Leonhardt

New protocols (2011 – 2017)
variable dimensions, 10 different sizes row separator

Alejandro Leonhardt - Another fascist whim (2015)

Artist : Alejandro Leonhardt

Another fascist whim (2015)
115 x 62 x 8 cm, vacum cleaner hose, golf club

Alejandro Leonhardt - Cleaning stain for vain mites (2014)

Artist : Alejandro Leonhardt

Cleaning stain for vain mites (2014)
variable size, cut out carpet

Alejandro Leonhardt - The stubbornness of a structure for maintaining its posture (2014)

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

Alex Yudzon - Cobh, Ireland, No.4 (July 21, 2019)

Artist : Alex Yudzon

Cobh, Ireland, No.4 (July 21, 2019)
66 × 55,9 cm, archival pigment print

Alex Yudzon - Colchester, VT, no.2 (November 14, 2019)

Artist : Alex Yudzon

Colchester, VT, no.2 (November 14, 2019)
66 × 55,9 cm, archival pigment print

Alex Yudzon - Marfa, TX, no.4 (April 20, 2019)

Artist : Alex Yudzon

Marfa, TX, no.4 (April 20, 2019)
66 × 55,9 cm, archival pigment print

Alex Yudzon - Middletown, RI (November 10, 2019)

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

Alex Yudzon - Flowers and Bulbs. From the Still Life series

Artist : Alex Yudzon

Flowers and Bulbs. From the Still Life series (2016)
66 x 53 cm, archival pigment print on paper

Alex Yudzon - Blue Window. From the Still Life series

Artist : Alex Yudzon

Blue Window. From the Still Life series (2016)
66 x 53 cm, archival pigment print on paper

Alex Yudzon - Pear with Tree. From the Still Life series

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

Alexander Roitburd - Portrait of a Lady in White (1993)

Artist : Alexander Roitburd

Portrait of a Lady in White (1993)
90 х 45 cm, collage on paper

Alexander Roitburd - Portrait of a Lady in White (1993)

Artist : Alexander Roitburd

Portrait of a Lady in White (1993)
90 х 45 cm, collage on paper

Alexander Roitburd - Portrait of a Lady in White (1993)

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

Aljoscha-St.John the Divine (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

Aljoscha - East Harlem, New York. From the Interventions series (2020)

Artist : Aljoscha

East Harlem, New York. From the Interventions series (2020)
pigmented acrylic glass, toys

Aljoscha-Alterocentric Eudaimonia (2019)

Artist : Aljoscha

Alterocentric Eudaimonia (2019)
pigmented acrylic glass

“Bioism meets lovely unicorns”

Aljoscha
New York, USA. February 27, 2020

Anders Krisár-Flesh Cloud-Photogram#1

Artist : Anders Krisar

Flesh Cloud (Photogram #1) (2014)
180 x 124 cm, chromogenic print mounted to aluminum

Anders Krisár-Flesh Cloud-Photogram#2

Artist : Anders Krisar

Flesh Cloud (Photogram #2) (2014)
180 x 124 cm, chromogenic print mounted to aluminum

Anders Krisár-Flesh Cloud-Photogram#3

Artist : Anders Krisar

Flesh Cloud (Photogram #3) (2014)
180 x 124 cm, chromogenic print mounted to aluminum

Anders Krisár-Flesh Cloud-Photogram#4

Artist : Anders Krisar

Flesh Cloud (Photogram #4) (2014)
180 x 124 cm, chromogenic print mounted to aluminum

Anders Krisár-Flesh Cloud-Photogram#5

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

Andriy Sagaidakovsky - Where are you? (2013)

Artist : Andriy Sagaidakovsky

Where are you? (2013)
150 х 200 cm, mixed media on carpet

Andriy Sagaidakovsky - Landscape (2008)

Artist : Andriy Sagaidakovsky

Landscape (2008)
200 х 150 cm, oil on carpet

Andriy Sagaidakovsky - From the Anatomy studies series (late 1980s)

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

Birgit Bjerre-Holding Darkness

Artist : Birgit Bjerre

Holding Darkness (2020)
130 x 100 cm, oil crayon and Ink on paper

Birgit Bjerre-Moving Vertical and Opposite

Artist : Birgit Bjerre

Moving Vertical and Opposite (2020)
120 x 100 cm, oil on glued canvas

Birgit Bjerre-Oil and Water forever

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

Publius no. 1. From the Founding Fathers series (2020)

Artist : David Baskin

Publius no. 1. From the Founding Fathers series (2020)
110 x 83 cm, inkjet print

Publius no. 2. From the Founding Fathers series (2020)

Artist : David Baskin

Publius no. 2. From the Founding Fathers series (2020)
110 x 83 cm, inkjet print

Publius no. 3. From the Founding Fathers series (2020)

Artist : David Baskin

Publius no. 3. From the Founding Fathers series (2020)
110 x 83 cm, inkjet print

Publius no. 4. From the Founding Fathers series (2020)

Artist : David Baskin

Publius no. 4. From the Founding Fathers series (2020)
110 x 83 cm, inkjet print

David Baskin-Publius no. 5. From the Founding Fathers series

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

David Baskin - George Washington (2020)

Artist : David Baskin

George Washington (2020)
55 x 40 x 30 cm, cast bronze, silver nitrate patina

David Baskin - George Washington (2020)

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

David Czupryn - Cupreous sheet bird (2020)

Artist : David Czupryn

Cupreous sheet bird (2020)
190 x 130 cm, oil on canvas

David Czupryn - Best friend (2020)

Artist : David Czupryn

Best friend (2020)
240 x 180 cm, oil on canvas

David Czupryn - Gamechanger (2019)

Artist : David Czupryn

Gamechanger (2019)
170 x 140 cm, oil on canvas

David Czupryn - Pusher (2019)

Artist : David Czupryn

Pusher (2019)
170 x 130 cm, oil on canvas

David Czupryn - There is nothing left, there is nothing right

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

Einar Falur Ingólfsson-Artist's studio during the pandemic (2020)

Artist : Einar Falur Ingolfsson

Artist's studio during the pandemic (2020)
64 x 80 cm, inkjet print

Einar Falur Ingólfsson-For Self-Isolation (2020)

Artist : Einar Falur Ingolfsson

For Self-Isolation (2020)
56 x 80 cm, inkjet print

Einar Falur Ingólfsson-For Self-Isolation II (2020)

Artist : Einar Falur Ingolfsson

For Self-Isolation II (2020)
40 x 50 cm, inkjet print

Einar Falur Ingólfsson-Elinborg's Quarantine on the Heath (2020)

Artist : Einar Falur Ingolfsson

Elinborg's Quarantine on the Heath (2020)
56 x 80 cm, inkjet print

Einar Falur Ingólfsson-A Year. Vopnafjörður, Iceland, September (2018) and September (2019)

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

Erik Sommer-Untitled

Artist : Erik Sommer

Untitled (2020)
244 cm x 366 cm, street posters on wood

Erik Sommer-Caleb's Green (2020)

Artist : Erik Sommer

Caleb's Green (2020)
92 x 92 cm, street posters and drywall on canvas

Erik Sommer-The Candy Store (2020)

Artist : Erik Sommer

The Candy Store (2020)
92 x 92 cm, street posters and drywall on canvas

Erik Sommer-1 Hour Tooth Whitening (2018)

Artist : Erik Sommer

1 Hour Tooth Whitening (2018)
site specific installation (Deli Grocery, Brooklyn)

Erik Sommer-Volvo 240

Artist : Erik Sommer

Volvo 240 (2017)
site specific installation (Fastnet, Brooklyn)

Erik Sommer-Die Chemische Reinigung

Artist : Erik Sommer

Die Chemische Reinigung (2016)
site specific installation (i.a.m, Berlin)

Erik Sommer-Painting Interior-detail 1

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

Felix Schramm-Dark Site #30 (2020)

Artist : Felix Schramm

Dark Site #30 (2020)
200 x 150 x 5 cm, dust, silverleaf, acrilic

Felix Schramm-Dark Site #15 (2020)

Artist : Felix Schramm

Dark Site #15 (2020)
130 x 100 x 5 cm, dust, silverleaf, acrilic

Felix Schramm-Transom (2019)

Artist : Felix Schramm

Transom (2019)
4,6 x 4,3 x 5,7 m, plasterboard, wood, color

Felix Schramm-Accumulated (Encounter) (2015)

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

Felix Schramm-Savage Salvage (2008)

Artist : Felix Schramm

Savage Salvage (2008)
7 x 9 x 35 m, plasterboard, wood, metal, colours

Felix Schramm-Untitled (2007)

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

Fernando Moletta - Supersonic (2020)

Artist : Fernando Moletta

Supersonic (2020)
30 x 42 cm, fine art print

Fernando Moletta - Same Feelings (2020)

Artist : Fernando Moletta

Same Feelings (2020)
42 x 30 cm, fine art print

Fernando Moletta - I give you money, you give me ideas

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

Fernando Moletta - Brasilia won't let me get tired (2019)

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 - Untitled. From the Impact series (2019)

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

Gene Kiegel - Untitled. From the Monument series (2017)

Artist : Gene Kiegel

Untitled. From the Monument series (2017)
encaustic medium with embedded metal

Gene Kiegel - Untitled. From the Monument series (2017)

Artist : Gene Kiegel

Untitled. From the Monument series (2017)
pigmented epoxy resin, copper and other ground metal pigments

Gene Kiegel-Monuments

Artist : Gene Kiegel

Untitled. From the Monument series (2017)
pigmented epoxy resin, copper and other ground metal pigments

Gene Kiegel-Monuments

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

Giulio Malinverni - The Sower (2020)

Artist : Giulio Malinverni

The Sower (2020)
23 x 31 cm, tempera on paper mounted on canvas

Giulio Malinverni - Eggs in Purgatory (2020)

Artist : Giulio Malinverni

Eggs in Purgatory (2020)
23 x 31 cm, tempera on paper mounted on canvas

Giulio Malinverni - Spring Fur (2019)

Artist : Giulio Malinverni

Spring Fur (2019)
150 x 200 cm, tempera and oil on canvas

Giulio Malinverni - The Shadow of the Beating (2019)

Artist : Giulio Malinverni

The Shadow of the Beating (2019)
214 x 348 cm, oil on canvas

Giulio Malinverni - Pareidolia (2019)

Artist : Giulio Malinverni

Pareidolia (2019)
200 x 250 cm, oil on canvas

Giulio Malinverni - McLeod (2019)

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

Guillermo Mora - Strangers always - Part I (2019)

Artist : Guillermo Mora

Strangers always - Part I (2019)
70 x 31 x 16 cm, transparent tape

Guillermo Mora - Half you, half me (Gerardo) (2018)

Artist : Guillermo Mora

Half you, half me (Gerardo) (2018)
140 x 48 x 49 cm, layers of acrylic paint folded, wooden easel

Guillermo Mora - I want I don’t want (2017)

“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

Hannah Hallermann - Hürde (with a warm eye) (2018)

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

Hannah Hallermann - Startblock 6,7,4 (2018)

Artist : Hannah Hallermann

Startblock 6,7,4 (2018)
73 x 45 x 30 cm, corten steel, concrete & hay, concrete & stones

Hannah Hallermann - Startblock 2,3,4 (2017)

Artist : Hannah Hallermann

Startblock 2,3,4 (2017)
73 x 45 x 30 cm, concrete & recycled oil, concrete & hay, stainless steel handpolished

Hannah Hallermann - Startblock 4 (2017)

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

Jakub Hubalek - Untitled (2020)

Artist : Jakub Hubalek

Untitled (2020)
175 x 160 cm, oil on canvas

Jakub Hubalek - Aristocracy (2016)

Artist : Jakub Hubalek

Aristocracy (2018)
180 x 160 cm, oil on canvas

Jakub Hubalek - Prague (2016)

Artist : Jakub Hubalek

Prague (2017)
100 x 100 cm, oil on canvas

Jakub Hubalek - Untitled (2016)

Artist : Jakub Hubalek

Untitled (2016)
200 x 180 cm, oil on canvas

Jakub Hubalek-Self-portrait

Artist : Jakub Hubalek

Self-portrait (2012)
190 x 190 cm, oil on canvas

Jakub Hubalek-Studio

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

Jesu Moratiel - Mitochondrial Eve (2019)

Artist : Jesu Moratiel

Mitochondrial Eve (2019)
60 x 50 cm, digital print on canvas

Jesu Moratiel - Degradation of a Kiss III (2018)

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

Jochen Mühlenbrink-The Grand LT

Artist : Jochen Mühlenbrink

The Grand LT (2020)
280 x 200 cm, oil on canvas

Jochen Mühlenbrink-The Grand LT

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

Jochen Mühlenbrink-The Grand TP (2020)

Artist : Jochen Mühlenbrink

The Grand TP (2020)
280 x 200 cm, oil on canvas

Jochen Mühlenbrink-Tape Over

Artist : Jochen Mühlenbrink

Tape Over (Las Meninas) (2009-2019)
205 x 170 cm, oil on canvas

Jochen Mühlenbrink-Dawn

Artist : Jochen Mühlenbrink

Dawn (2019)
200 x 300 cm, oil on canvas

Jochen Mühlenbrink-Window Widow

Artist : Jochen Mühlenbrink

Window Widow (2019)
150 x 180 cm, oil on canvas

Jochen Mühlenbrink-Untitled WP

Artist : Jochen Mühlenbrink

Untitled WP (2018)
180 x 150 cm, oil on canvas

Jochen Mühlenbrink-KOL WP

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

Jofroi Amaral - Black form on a flower field (2019)

Artist : Jofroi Amaral

Black form on a flower field (2019)
300 x 230 cm, painting on loose textile

Jofroi Amaral - Blue Fox (2016)

Artist : Jofroi Amaral

Blue Fox (2016)
160 x 190 cm, painting on canvas / 36 x 33 x 53 cm, painting on fox

Jofroi Amaral - Chromatic Jungle (2016)

Artist : Jofroi Amaral

Chromatic Jungle (2016)
installation, group of several paintings done with plants, objects, photographies and plants

Jofroi Amaral - Yucca Blue (2016)

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

Kenny Scharf - In The Beginning (2019)

Artist : Kenny Scharf

In The Beginning (2019)
152,4 × 121,9 cm, oil, acrylic and diamond dust on linen

Kenny Scharf - Fuzzjungle (2019)

Artist : Kenny Scharf

Fuzzjungle (2019)
101,5 x 101,5 cm, oil and acrylic on linen

Kenny Scharf - Out of the Void (2019)

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

Khairullah Rahim-Bird Feeder

Artist : Khairullah Rahim

Bird Feeder (2020)
60 x 50 cm, mixed media assemblage on wooden panel

Khairullah Rahim-Silly Gatekeeper

Artist : Khairullah Rahim

Silly Gatekeeper (2020)
85 x 61 cm, mixed media assemblage on wooden panel

Khairullah Rahim-Eye Candy

Artist : Khairullah Rahim

Eye Candy (2020)
90 x 47 cm, mixed media assemblage on wooden panel

Khairullah Rahim-Vivacious Fellowship

Artist : Khairullah Rahim

Vivacious Fellowship (2020)
dimensions variable, mixed media assemblage

Khairullah Rahim-Intimate Apparitions (installation view)

Artist : Khairullah Rahim

Intimate Apparitions (installation view) (2019)
dimensions variable, mixed media installation, manipulated found objects and readymades

Khairullah Rahim-Intimate Apparitions (detail)

Artist : Khairullah Rahim

Intimate Apparitions (detail) (2019)
dimensions variable, mixed media installation, manipulated found objects and readymades

Khairullah Rahim-Intimate Apparitions

Artist : Khairullah Rahim

Intimate Apparitions (sighting) (2019)
digital image (in collaboration with Taufiq Rahman)

Khairullah Rahim-The Incredible Frolic (installation view)

Artist : Khairullah Rahim

The Incredible Frolic (installation view) (2018)
dimensions variable, manipulated found objects and readymades

Khairullah Rahim-The Incredible Frolic (detail)

Artist : Khairullah Rahim

The Incredible Frolic (detail) (2018)
dimensions variable, manipulated found objects and readymades

Khairullah Rahim-The Incredible Frolic (detail)

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

lom-of-LaMa-Shareholder (2020)

Artist : lom-of-LaMa

Shareholder (2020)
127 х 59 х 110 cm, modified shopping carts

lom-of-LaMa-Me (2019)

Artist : lom-of-LaMa

Me (2019)
100 x 100 cm, steelframed fine art print

lom-of-LaMa-Relationship system (2019)

Artist : lom-of-LaMa

Relationship system (2019)
158 x 101 x 100 cm, interactive sculpture

lom-of-LaMa-Coupled corporeality (2019)

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

Lucien Dulfan - World War I Veteran. From the Homeless series (2020)

Artist : Lucien Dulfan

World War I Veteran. From the Homeless series (2020)
180 х 110 cm, mixed media on plywood

Lucien Dulfan - Violinist. From the Homeless series (2019)

Artist : Lucien Dulfan

Violinist. From the Homeless series (2019)
180 х 110 cm, mixed media on plywood

Lucien Dulfan - Homeless Dream. From the Homeless series (2019)

Artist : Lucien Dulfan

Homeless Dream. From the Homeless series (2019)
180 х 110 cm, mixed media on plywood

Lucien Dulfan - Triptych. From the Homeless series (2018)

Artist : Lucien Dulfan

Triptych. From the Homeless series (2018)
180 х 100 cm (each), mixed media on plywood

Lucien Dulfan-Night's Sleep

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

Lynda Draper-Somnambulism

Installation detail, SAM Shepparton Art Gallery and Museum, Australia

Artist : Lynda Draper

Somnambulism (2019)
size varies, ceramic various glazes

Lynda Draper-Somnambulism

Installation detail, SAM Shepparton Art Gallery and Museum, Australia

Artist : Lynda Draper

Somnambulism (2019)
size varies, ceramic various glazes

Lynda Draper-Spring

Artist : Lynda Draper

Spring (2018)
80 x 55 x 50 cm, ceramic various glazes

Lynda Draper-Mary Mary

Artist : Lynda Draper

Mary Mary (2015)
86 x 25 x 23 cm, ceramic various glazes

Lynda Draper-Annette

Artist : Lynda Draper

Annette (2012)
52 x 47 x 31 cm, ceramic various glazes

Lynda Draper-Tiara

Artist : Lynda Draper

Tiara (2015)
35 x 30 x 30 cm, ceramic various glazes

“TURN TURN TURN”

Lynda Draper
Thirroul, Australia. May 30, 2020

Marina Skugareva - Anemone Nemorosa (2020)

Artist : Marina Skugareva

Anemone Nemorosa. From the Nyzhni Sady series (2020)
42 x 29,7 cm, paper, mixed media

Marina Skugareva - Datura stramonium (2020)

Artist : Marina Skugareva

Datura stramonium. From the Nyzhni Sady series (2020)
42 x 29,7 cm, paper, mixed media

Marina Skugareva - Iris (2020)

Artist : Marina Skugareva

Iris Germanica. From the Nyzhni Sady series (2020)
42 x 29,7 cm, paper, mixed media

Marina Skugareva - Primula Auricula (2020)

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

Mykola Matsenko - Calendar (2012)

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-Always Let the Dust Settle First (2019)

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

Nicolas Vionnet-Always Stand on The Bright Side of Life (2019)

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

Nik Ramage - Sphere

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

Nikita Storozhkov-Untitled (2018)

Artist : Nikita Storozhkov

Untitled (2018)
39 x 29,5 cm, paper, pen

Nikita Storozhkov-Untitled (2015)

Artist : Nikita Storozhkov

Untitled (2015)
43 x 30,5 cm, paper, pen

Nikita Storozhkov-Untitled (2015)

Artist : Nikita Storozhkov

Untitled (2015)
45 x 32 cm, paper, pen

Nikita Storozhkov-Untitled (2015)

Artist : Nikita Storozhkov

Untitled (2015)
45 x 32 cm, paper, pen

Nikita Storozhkov-Untitled (2015)

Artist : Nikita Storozhkov

Untitled (2015)
45 x 32 cm, paper, pen

Nikita Storozhkov-Untitled (2015)

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

Oleg Tistol - Europe II (2020)

Artist : Oleg Tistol

Europe II (2020)
290 x 200 cm, oil and acrylic on canvas

Oleg Tistol - Europe (2019)

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

Oleg Tistol - Vietnam (2018)

Artist : Oleg Tistol

Vietnam (2018)
195 x 140 cm, oil and acrylic on canvas

Oleg Tistol - Ten (2018)

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

Omri Harmelin - Foundation (2019)

Artist : Omri Harmelin

Foundation (2019)
dimensions variable, concrete and rebar

Omri Harmelin - White Lie (2016)

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

Paul Cooley-Thanks#9

Artist : Paul Cooley

Thanks #9 (2020)
150 х 100 cm, oil on acrylic

Paul Cooley-Thanks#8

Artist : Paul Cooley

Thanks #8 (2020)
150 х 100 cm, oil on acrylic

Paul Cooley-Thanks#5

Artist : Paul Cooley

Thanks #5 (2020)
150 х 100 cm, oil on acrylic

Paul Cooley-Thanks#4

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

Pavlo Kerestey - Balancing (2019)

Artist : Pavlo Kerestey

Balancing (2019)
120 x 80 cm, oil on canvas

Pavlo Kerestey - Asteroids in the Evening (2019)

Artist : Pavlo Kerestey

Asteroids in the Evening (2019)
190 x 150 cm, oil and acrylic on canvas

Pavlo Kerestey - Painting a Bomb, in Pink Dots (2019)

Artist : Pavlo Kerestey

Painting a Bomb, in Pink Dots (2019)
90 x 60 cm, oil on canvas

Pavlo Kerestey - Painting a Bomb, in Blue Dots (2019)

Artist : Pavlo Kerestey

Painting a Bomb, in Blue Dots (2019)
90 x 60 cm, oil on canvas

Pavlo Kerestey - Last Entrance (2018)

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

Pedro Matos-Untitled (Tits)

Artist : Pedro Matos

Untitled (2020)
50 x 40 cm, acrylic enamel on cotton, acrylic enamel on canvas

Pedro Matos-Untitled (Green)

Artist : Pedro Matos

Untitled (2019)
180 x 100 cm, acrylic enamel on cotton, acrylic enamel on canvas

Pedro Matos-Untitled (2019)

Artist : Pedro Matos

Untitled (2019)
180 x 100 cm, acrylic enamel on cotton, acrylic enamel on canvas

Pedro Matos - Anxiety (2019)

Artist : Pedro Matos

Anxiety (2019)
vinyl lettering on wall, dimensions variable

Pedro Matos - Leave no Trace

Artist : Pedro Matos

Leave no Trace (2019)
vinyl lettering on wall, dimensions variable

Pedro Matos - Nothing is Available (2019)

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

Philip Loersch-Von Don

Artist : Philip Loersch

Von Don (2020)
50 x 55 x 20 cm (3 parts), pencil, china ink, acrylic, varnish on soapstone

Philip Loersch-Kritisch Museum Guide (front)

Artist : Philip Loersch

Kritisch Museum Guide (front) (2019)
30 x 40 x 5 cm, oil, china ink, pencil, varnish on soapstone

Philip Loersch-Kritisch Museum Guide (back)

Artist : Philip Loersch

Kritisch Museum Guide (back) (2019)
30 x 40 x 5 cm, oil, china ink, pencil, varnish on soapstone

Philip Loersch-Deutsche Rentenversicherung Bunt

Artist : Philip Loersch

Deutsche Rentenversicherung Bunt (2019-2020)
64 x 96 cm, colored pencil on paper

Philip Loersch-Hidden Michelangelo (front)

Artist : Philip Loersch

Hidden Michelangelo (front) (2019)
33,5 x 58 x 37 cm, oil, china ink, pencil, colored pencil, varnish on soapstone

Philip Loersch-Hidden Michelangelo (back)

Artist : Philip Loersch

Hidden Michelangelo (back) (2019)
33,5 x 58 x 37 cm, oil, china ink, pencil, colored pencil, varnish on soapstone

Philip Loersch-Der alte Garten

Artist : Philip Loersch

Der alte Garten (2018)
63 x 95 cm, colored pencil on paper

Philip Loersch-Turn it up!

Artist : Philip Loersch

Turn it up! (2018)
30 x 58 x 14,5 cm, pencil, china ink, polishing oil, varnish on soapstone

Philip Loersch-Halber Kirschbaum

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

Richie Culver-GOD (2020)

Artist : Richie Culver

GOD (2020)
170 x 140 cm, acrylic on canvas

Richie Culver-Untitled (2019)

Artist : Richie Culver

Untitled (2019)
dimensions variable, acrylic and sports shoes on canvas

Richie Culver - Block A (2019)

Artist : Richie Culver

Block A (2019)
dimensions variable, cement and sports shoe

Richie Culver-Block C (2019)

Artist : Richie Culver

Block C (2019)
dimensions variable, cement and sports shoe

Richie Culver - Range Finder (2019)

Artist : Richie Culver

Range Finder (2019)
dimensions variable, powder coated steel piping and toilet roll

Richie Culver - #4 Cum Yet (2019)

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

Robert Lazzarini-Police Barricade

Artist : Robert Lazzarini

Police Barricade (2019)
96,5 x 304,8 x 109,2 cm, wood, paint, metal

Robert Lazzarini-No Trespassing Sign

Artist : Robert Lazzarini

No Trespassing Sign (2012)
55,9 x 58 x 2,5 cm, metal, paint, vinyl

Robert Lazzarini-Shotgun

Artist : Robert Lazzarini

Shotgun (sawed-off) (2011)
12,7 x 55,8 x 12,7 cm, metal, plastic

Robert Lazzarini-Safe

Artist : Robert Lazzarini

Safe (blown) (2011)
129,5 x 69 x 73,7 cm, metal and paint

Robert Lazzarini-Brass Knuckles

Artist : Robert Lazzarini

Brass Knuckles (iv) (2010)
12,7 x 17,8 x 10,2 cm, brass, bronze

Robert Lazzarini-Target G-63

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

Roxanne Jackson - Blackhearted (2019)

Artist : Roxanne Jackson

Blackhearted (2019)
38 x 43 x 23 cm, ceramic, glaze, luster, faux fur, candle, necklace, rhinestones, nail stickers

Roxanne Jackson - Lips Vase (2020)

Artist : Roxanne Jackson

Lips Vase (2020)
19 x 40 cm, ceramic, glaze, luster

Roxanne Jackson - Medusa Mermaid (2020)

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

Samuel Jablon - Fuck

Artist : Samuel Jablon

Fuck (2020)
198 x 178 cm, oil and acrylic on canvas

Samuel Jablon - Out of Control (2020)

Artist : Samuel Jablon

Out of Control (2020)
122 x 102 cm, oil and acrylic on canvas

Samuel Jablon - Evil Flowers (2020)

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

Sergei Sviatchenko - From the Less series (2019)

Artist : Sergei Sviatchenko

From the Less series (2019)
56 x 41 cm, c-print

Sergei Sviatchenko - From the Less series (2019)

Artist : Sergei Sviatchenko

From the Less series (2019)
56 x 41 cm, c-print

Sergei Sviatchenko - From the Less series (2019)

Artist : Sergei Sviatchenko

From the Less series (2019)
56 x 41 cm, c-print

Sergei Sviatchenko - From the Emotional Rescue series (2019)

Artist : Sergei Sviatchenko

From the Emotional Rescue series (2019)
41 х 58 cm, c-print

Sergei Sviatchenko - From the Emotional Rescue series (2019)

Artist : Sergei Sviatchenko

From the series Emotional rescue (2019)
58 x 41 cm, c-print

Sergei Sviatchenko - From the series Emotional rescue (2019)

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

Stepan Ryabchenko-Hunter

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

Stepan Ryabchenko - The Ark (2016)

The Ark is an image of the salvation of mankind in the digital age.

 

Stepan Ryabchenko, artist

Artist : Stepan Ryabchenko

The Ark (2016)
digital print

Stepan Ryabchenko-Chernobyl-Computer Virus

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

Tom McFarland-“9010 State Street” 5/5 (2019)

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

Tom McFarland-“9010 State Street” 4/5 (2019)

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

Tom McFarland-“727 Carlsbad Caverns Highway” 3/4 (2018)

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

Tom McFarland-“727 Carlsbad Caverns Highway” 2/4 (2018)

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

Tom McFarland-“3811 Roth Road” 1/4 (2017)

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

Valentin Abad-Écrase

Le Futur est passé is a participative and contemplative installation. It questions the present, puts it on hold with her hypnotic broom.

In the form of a metronome architectural, the device is activated by the spectator. It’s a size metronome human, formalized by a degraded flag and a head of Janus as a counterweight. The whole is wrapped in a white steel rectangular parallelepiped.

Janus represented by his two faces is a Roman deity who looks both to the past and to the future.

Isn’t this representation of time the setting in motion of one of our faults, to be constantly between retrospectives and prospective speculations without being able to profit of the present moment?

There is nothing more to observe the movement of this Janus head carved in a multitude layers of plywood that make this degraded flag dance who tries to call attention of the spectator.

Le Futur est passé is simply a call to contemplation, on logout to enjoy a moment of this present instant.

 

Valentin Abad, artist

Artist : Valentin Abad

Le futur est passé (The future has passed) (2019)

Valentin Abad - Résilience de la matière (2018)

Artist : Valentin Abad

Résilience de la matière (Resilience of matter) (2018)
170 x 190 x 11 cm, solid fir

Valentin Abad - Ping Pong relational (2018)

Artist : Valentin Abad

Ping Pong relationnel (Relational ping pong) (2018)
230 x 8 x 8 cm, fir

Valentin Abad - Enfant plante verte (2017)

Artist : Valentin Abad

Enfant plante verte (Child green plant) (2017)
110 x 40 x 30 cm, plaster, green plant

“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

Vasiliy Ryabchenko - Repackaging (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)

Vasiliy Ryabchenko - Prayer (2019)

Artist : Vasiliy Ryabchenko

Prayer (2020)
180 x 160 cm, digital print and oil on canvas

Vasiliy Ryabchenko - Copperas (2010)

Artist : Vasiliy Ryabchenko

Copperas (2010)
135 х 100 cm, digital print and mixed media on canvas

Vasiliy Ryabchenko - The Flood (1990)

Artist : Vasiliy Ryabchenko

The Flood (1990)
160 x 180 cm, oil on canvas

Vasiliy Ryabchenko - Grace Refusal (1989)

Artist : Vasiliy Ryabchenko

Grace Refusal (1989)
200 х 300 cm, oil on canvas

Vasiliy Ryabchenko - Undecipherable characters shore (1989)

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

Vasiliy Tsagolov-The Carpathian portal

Artist : Vasiliy Tsagolov

The Carpathian portal. from the Ukrainian X-Files series (2018 – 2020)
185 x 225 cm, oil on canvas

Vasiliy Tsagolov - Artist and Model (2017–2018)

Artist : Vasiliy Tsagolov

Artist and Model (2017–2018)
200 x 370 cm, oil on canvas

Vasiliy Tsagolov - Untitled (2008)

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

Victor Sydorenko-Invasion (1996)

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

Victoria Keddie-Exercising Consumption-1

Artist : Victoria Keddie

Exercising Consumption#1 (2019)
UV print

Victoria Keddie-Exercising Consumption-2

Artist : Victoria Keddie

Exercising Consumption#2 (2019)
UV print

Victoria Keddie-Exercising Consumption-3

Artist : Victoria Keddie

Exercising Consumption#3 (2019)
UV print

Victoria Keddie-Exercising Consumption-4

Artist : Victoria Keddie

Exercising Consumption#4 (2019)
UV print

Victoria Keddie-Exercising Consumption-5Victoria Keddie-Exercising Consumption-5

Artist : Victoria Keddie

Exercising Consumption#5 (2019)
UV print

Victoria Keddie-Exercising Consumption-6

Artist : Victoria Keddie

Exercising Consumption#6 (2019)
UV print

Victoria Keddie-Exercising Consumption-7

Artist : Victoria Keddie

Exercising Consumption#7 (2019)
UV print

Victoria Keddie-Exercising Consumption-8

Artist : Victoria Keddie

Exercising Consumption#8 (2019)
UV print

Victoria Keddie-Exercising Consumption-9

Artist : Victoria Keddie

Exercising Consumption#9 (2019)
UV print

Victoria Keddie-Exercising Consumption-10

Artist : Victoria Keddie

Exercising Consumption#10 (2019)
UV print

Victoria Keddie-Exercising Consumption-11

Artist : Victoria Keddie

Exercising Consumption#11 (2019)
UV print

Victoria Keddie-Exercising Consumption-12

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

William York-Ode To Lonnie

Artist : William York

Ode to Lonnie (2019)
dimensions variable, found objects with concrete base

William York-BPX 1820

Artist : William York

BPX 1820 (2019)
dimensions variable, assembled found objects

William York-Re-Encountered

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)

William York-DDR Dinge

Artist : William York

DDR Dinge (2019)
dimensions variable, found objects set in concrete

William York-Rauchen Verboten

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

Yuko Soi-Life

Artist : Yuko Soi

Life (2018)
91 x 72 cm, colored pencils on paper

Yuko Soi-Every Day

Artist : Yuko Soi

Every Day (2012)
45 x 38 cm, colored pencils on paper

Yuko Soi-It's just a Fight

Artist : Yuko Soi

It's just a Fight (2010)
26 x 38 cm, colored pencils on paper

Yuko Soi-The One which was in the Delusion

Artist : Yuko Soi

The One which was in the Delusion (2008)
25 x 36 cm, colored pencils on paper

Yuko Soi-The Answer is simple

Artist : Yuko Soi

The Answer is simple (2008)
18 x 14 cm, colored pencils on paper

Yuko Soi-Sad Woman

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