ANO Institute of Arts & Knowledge | NKABOM – The Museum as Community | Dak’Art, Biennale of Contemporary African Art

Following its highly acclaimed opening of the Ghana Pavilion at the Venice Biennale, 2022, ANO Institute of Arts and Knowledge will present the exhibition Nkabom, The Museum as Community, at the Biennale de Dakar, 2022. With Ĩ NDAFFA # – Forger – Out of the fire, the fourteenth edition of the Dakar Biennale calls for the transmutation of concepts and the foundation of new meanings.

Featured Artists:

Rita Mawuena Benissan, Kwasi Darko and Kuukua Eshun

Curator: Nana Oforiatta Ayim

Kukuua Eshun, Born of the Earth (an experimental film), 2022. © Kuukua Eshun. Courtesy of ANO Institute of Arts and Knowledge.

May 18, (Dakar, Senegal), Nkabom The Museum as Community, an exhibition looking at the various ways contemporary artists have interacted with the notion of Nkabom (coming together) as a community and collective will be on view to the public from May 19 - June 21 at the Biennale de Dakar, 2022.

Curated by Nana Oforiatta Ayim, Director of ANO Institute of Arts & Knowledge in Accra and Director at Large of Ghana’s Museums and Cultural Heritage, the exhibition Nkabom explores the idea of community and connection through the work of three artists: Kuukua Eshun, Rita Mawuena Benisson and Kwasi Darko.

Kuukua Eshun explores the reconnection of women of African descent with the earth in her film Born of the Earth; Rita Mawuena Benisson, remodels the Afayhe’s local spaces; and Kwasi Darko, whose work addresses contemporary issues showcasing the involvement of people in public urban spaces in Ghana.

The mobile museums created by Nana Oforiatta Ayim and built as modular, open-source bamboo structures, - fufuzela -, by architect DK Osseo Asare will serve as gateways to the exhibition; and as a gathering space and space of communion in Popenguine, facilitated by the community there. The mobile museum in Popenguine houses works from artists Go Salam and Moussa of Delu6waat, reflecting on their connections with the sea, the communities around it, and their relations to the environment. It is done in partnership with Wakhart, a cultural platform that provides spaces of communion for artists in Senegal.

Nana Oforiatta Ayim states:

“For each artist’s work, the curatorial space takes its cue from the spaces the artist’s reference: the colours associated with the earth which in Akan philosophy is feminine; the colours and textures of historical courtyard houses especially those linked with the ritual and sacred; the urban iconography and colours of street kiosks and places of transport and transition. Nkabom brings these public exhibition spaces into the museum and then reaches out again through the mobile museum."

Left. Untitled. Rita Mawuena Benissan. Photo: Michael Dawka, 2022. Right. Kwasi Darko. Photo: Kwasi Darko, 2022

Notes to Editors:

About Nana Oforiatta Ayim

Curator Nana Oforiatta Ayim is a Writer, Filmmaker, and Art Historian who lives and works in Accra, Ghana. She is Founder of the ANO Institute of Arts and Knowledge, through which she has pioneered a Pan-African Cultural Encyclopaedia, a Mobile Museums Project, and curated Ghana’s first pavilion at the 58th International Art Exhibition of La Biennale di Venezia. She published her first novel The God Child with Bloomsbury in 2019, and with Penguin in German in 2021. She has made award winning films for museums such as Tate Modern, LACMA and The New Museum, and lectures a course on History and Theory at the Architectural Association in London. She is the recipient of various awards and honours, having been named one of the Apollo ’40 under 40’; one of 50 African Trailblazers by The Africa Report; a Quartz Africa Innovator in 2017; one of 12 African women making history in2016 and one of 100 women of 2020 by Okayafrica. She received the 2015 the Art + Technology Award from LACMA; the 2016 AIR Award, which “seeks to honour and celebrate extraordinary African artists who are committed to producing provocative, innovative and socially-engaging work”; a 2018 Soros Arts Fellowship, was a 2018 Global South Visiting Fellow at Oxford University, was appointed to the Advisory Council of Oxford University’s Cultural Programme in 2020, was a Principal Investigator on the Action for Restitution to Africa programme, and is currently Special Advisor to the Ghanaian Minister of Tourism, Arts and Culture on Museums and Cultural Heritage.

Fellowship, was a 2018 Global South Visiting Fellow at Oxford University, was appointed to the Advisory Council of Oxford University’s Cultural Programme in 2020, was a Principal Investigator on the Action for Restitution to Africa programme and is currently Special Advisor to the Ghanaian Minister of Tourism, Arts and Culture on Museums and Cultural Heritage.

DK Osseo-Asare, Fufuzela Architect

DK Osseo-Asare is co-founding principal of Low Design Office (LOWDO), a trans-Atlantic architecture and integrated design studio based in Ghana and Texas. He co-founded the Ashesi Design Lab as Chief Maker and is Assistant Professor of Architecture and Engineering Design at Penn State University, where he runs the Humanitarian Materials Lab (HuMatLab) and serves as Associate Director of Penn State’s Alliance for Education, Science, Engineering and Design with Africa (AESEDA). DK Osseo-Asare creates architecture with and for the people that design overlooks.

Rita Mawuena Benissan, Artist

Rita Mawuena Benissan is a photographer, a cultural curator at the Noldor Artist Residency in Accra, Ghana, and founder of the Sihene archive. Her work explores the identities of Africans and African Americans while showcasing the profound beauty and power of black culture. She received a Bachelor of Fine arts in Apparel and Textile Design at Michigan State University in 2017. She has worked with nonprofit and community outreach programs including the Children Defense Fund and United Methodist Youth Alliance, which gave her the opportunity to teach and create art with student from marginalized areas. She has had exhibitions at Michigan State University, Baltimore Gallery, the Birmingham-Bloomfield Art center, University of Wisconsin- Madison, and the Dortmunder U.

Kuukua Eshun, Artist

Kuukua Eshun raises awareness about social issues and mental health through her writing and film. She is a multi-award-winning filmmaker. Her Film, Artist, Act of Love recently won an award at the worldwide women’s films festival for best visual effect and also screened at the Academy Award-Qualifying Urban world film festival. She has worked with Roc-nation, Vic Mensa, Wizkid, Huawei, Facebook, Variety Magazine, Michaela Coel, Lifetime Tv, The Economist. Her belief in gender equity has pushed her to protest on the streets of Accra and to collaborate with UNFPA Ghana to hold a healing session for young women who are survivors of sexual assault. She is also the co-founder of boxed kids, an organization that prioritizes in the ultimate purpose in providing an education to the youth of Jamestown, Ghana, and of Skate Gal Club, the first all- female skate crew in Ghana, whose goal is to create a safe space for women in sports on the continent.

Kwasi Darko, Artist

Kwasi Darko is a fine arts photographer and multimedia artist living and working in Accra, Ghana. His work uses visual artistry and performance art to create visibility and weave positive narratives for muses he derives inspiration from in his society. His work also explores Blackness and its many intersections. Kwasi is interested in the next step in our human existence, digital identity and evolution. His recent works investigates this phenomenon against the backdrop of the 2020 quarantine, its following isolation and ensuing digital events. His practice involves investigating and creating digital spaces and the possibilities that holds for minorities.

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Chybik + Kristof + Mecanoo unveil competition entry for Vltava Philharmonic Hall | A new cultural landmark and transformation of public space

Selected to take part in the prestigious Vltava Philharmonic Hall competition, CHYBIK + KRISTOF in partnership with Mecanoo, unveil design for the new philharmonic hall in Prague’s city center, set to become a new cultural landmark. Offering world-class standards for the musical tradition, the design of the hall expands its function to become a cultural hub and monument while transforming the existing urban landscape.

May 18, 2022 (Prague, Czech Republic) – CHYBIK + KRISTOF (CHK) and Mecanoo present competition entry for the Vltava Philharmonic Hall, a new musical and cultural center located in the heart of Prague. Designed to meet 21st century standards for symphonic music concerts, with the development of modern construction and exceptional acoustic design of the halls, the proposed building addresses the need for an integrated cultural and social hub that compliments Czech history and culture, and simultaneously responds to the contemporary needs of the city.

Prague’s area of Holešovice - Bubny – Zátory offers significant potential for a new vibrant district, waiting to be shaped by a new cultural landmark of fundamental social importance – such as the Vltava Philharmonic Hall, located near the Vltvaská metro station. Expanding on these ambitions, CHK and Mecanoo’s design integrates the concert hall into the existing city landscape, creating seamless urban implementation. In articulating the active part of the building’s program towards the urban environment, the architects propose a diverse mix of public urban spaces, including a transformed waterfront, a square, a courtyard, and a newly shaped boulevard, perfectly aligning with Prague’s unique topography and ensuring long-term economic sustainability and commercial development. Connecting the metro station, its vestibule, the waterfront and all other urban levels, the multi-level harmonious public space allows the concert hall to become a distinctive icon of the city’s urban landscape.

Urban ribbon wraps two separate cylindrical-shapedcylindrical shaped halls and forms an open-air amphitheater, connecting the lobby and open stage for cultural events. Located at the right of Vltava’s embankment, the main hall offers a unique visual experience for its visitors, and along with its structural engineering concept enhances the experience and quality of the architectural scheme.

“The main foyer has a prime position in the design, opening up towards the most notable landmarks of Prague: the Vltava River, Prague's city center, and the castle,“ says Ondrej Chybik , co-founder of CHK.

The five-story main concert hall, composed of the major hall stage level, its balconies, and the foyer supports the panoramic rooftop with a restaurant and bistro which is open to the general public. The second smaller hall is intentionally located outside the view of the dominance of the church towers responding to the HOLKA footbridge for pedestrians. A uniform urban carpet connects the site to its surrounding, creating a maximized pedestrian public space.

Emphasizing the combination of wood and the glass façade as its material, the hall is notable for its acoustic concept, designed by Nagata Acoustics, one of the leading acousticians in the world. The architectural form of the building enforces the perfect acoustic instrument as the great hall creates a clear transmission of sound from the performers to the audience by manipulating the dimensions and interior shaping of the space.

“The main concert hall cladded with wood resonates with the interiors offering coherent materiality and hospitable aesthetics. It creates an organism that functions as an instrument of excellent acoustics,” adds Nuno Fontarra, partner of Mecanoo.  

The development of the project allows for the creation of both, necessary architectural expression of the concert hall and additional urban and functional composition, towards becoming a holistic cultural and social hub. The construction of additional features such as the multipurpose hall, a conference hall with the functions of a library and a school, allows the main structure to build on all urban ties in its surroundings by activating the street profiles and emphasizing the use of public space.

Designed as a modern representation of culture, architecture and perfect acoustic instrument the concept for the new Vltava Philharmonic Hall by Chybik + Kristof and Mecanno confirms Prague’s international reputation as a cultural capital.

Other Competitors include:

ALA + OV-A, MVRDV, OFFICE KGDVS + Christ & Gantenbein, Mecanoo + CHYBIK+KRISTOF, Barozzi Veiga + Atelier M1, Sou Fujimoto Architects, Cobe + Lundgaard & Tranberg Architects, ŠÉPKA ARCHITEKTI + MANGADO Y ASOCIADOS, Bjarke Ingels Group, Henning Larsen Architects, Carrilho da Graça Arquitectos, JAJA Architects, Bevk Perovic Arhitekti, Petr Hájek Architekti, Diller Scofidio + Renfro, Snøhetta, Ateliers Jean Nouvel, David Chipperfield Architects, SANAA.

The announced winner of the competition is Bjarke Ingels Group (BIG).

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NOTES TO EDITORS

Credits

Authors: CHYBIK + KRISTOF + Mecanoo

Acoustics: Nagata Acoustics

Engineering: Buro Happold, AED project

Traffic concept: John Henley

Cost calculations: Martin Růžička

Fire engineering: Buro Happold, AED project

Art consultancy: Pavel Karous

Program consultancy: Petr Kalousek

Renders: Plomp, Mecanoo, Mangoshake Studio, CHYBIK + KRISTOF

Project Team

Ondrej Chybík, Michal Krištof, Francine Houben, Nuno Fontarra, Rodrigo Bandini Dos Santos, Jiří Vala, Ingrid Spáčilová, Eliška Morysková, Ondrej Mičuda, Tomáš Wojtek, Vadim Shaptala, Tomáš Babka, Daniele Delgrosso, Victor Serbanescu, Omar El Hassan, Selin Gulsen, Pieter Hoen, Isabella Banfi, Dario Castro, Mattia Cavaglieri, Aydan Suleymanli, Alessandro Luporino

About CHYBIK + KRISTOF

CHYBIK + KRISTOF is an architecture and urban design practice founded in 2010 by Ondrej Chybik and Michal Kristof. Operating with 50+ international team members and offices in Prague, Brno and Bratislava, the practice aims at creating bridges between private and public space, transcending generations and societal spheres. Taking into account local histories and environmental specificities, the studio works on a wide array of projects, ranging from urban developments to public and residential buildings. Recent projects include: the Czech Pavilion at Expo 2015 (Milan, Italy), Lahofer Winery (Czech Republic), Zvonarka bus station (CZ) or Multipurpose arena in Jihlava (CZ). The studio has been awarded a number of prizes including the 2019 Design Vanguard Award from Architectural Record, and was recently amongst the European Centre for Architecture Art Design and Urban Studies’ 2019 40 Under 40 Award winners.
chybik-kristof.com

About Mecanoo

Mecanoo multidisciplinary, global firm with creative professionals working from our office on the Oude Delft, located in the historic heart of the city. Officially founded in Delft in 1984, Mecanoo is made up of a highly multidisciplinary staff of creative professionals from 25 countries. The team includes architects, interior designers, urban planners, landscape architects as well as architectural technicians and support staff. Mecanoo is led by Francine Houben (Creative Director & Founding Partner), Floris Overheul (Financial Director), Dick van Gameren (Design & Research Partner), and Partners/Architects Nuno Fontarra, Rick Splinter and Arne Lijbers.

https://testwww.mecanoo.nl/

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ANO Institute of Arts & Knowledge | 2022 Global Programming | Redefining Existing Museum Models

The ANO Institute of Arts and Knowledge in Accra celebrates its 20th Anniversary and announces a series of exhibitions and programming for 2022. Nana Offoriata Ayim, Director and Founder of ANO and Director at Large of Ghana’s Museums and Cultural Heritage, rethinks and reshapes the imperialist model of Western museums and investigates the changing cultural landscape.

Untitled. Rita Mawuena Benissan. Photo: Michael Dawka. 2022.

May 12, 2022 (Accra, Ghana) — Accra-based ANO Institute of Arts and Knowledge, specialized in reframing Pan-African and Diasporic archives, institutions and narratives, unveils its program for 2022. Over the past two decades, ANO has been rethinking and reshaping the existing museum model with the mission to challenge different ways of presenting and bringing Ghanaian and African art to the center of global art and culture landscape.

ANO’s 2022 programming will see a series of global exhibitions and projects unfold. Reflecting the organization’s commitment to reshaping the Western museum concept, the program presents a new perspective of the role of the museum, redefining the perception, comprehension and engagement with art and African culture.

ANO celebrates its twentieth anniversary in 2022 with the construction of a new space in Accra, made entirely out of local, sustainable materials, — raffia palm from the Western Region, by 84-year- old designer Ophelia Akiwumi. After two decades of building narratives in the arts, ANO is transitioning into future building, engaging more actively with the environment and education. Its projects which launch towards the end of the year will include models for new kinds of museums, ways of historicising, expression and conservation.

Marking its anniversary, they have announced a series of exhibitions globally, including The Ghana Pavilion at the 59th International Art Exhibition of La Biennale di Venezia (April 23 – November 27, 2022) and a project at the Dak’Art Biennale of Contemporary African Art (May 19 – June 21, 2022).

Installation view of The Ghana Pavilion. Black Star – The Museum as Freedom at La Biennale di Venezia. Photo: David Levene. © David Levene.

Ghana Pavilion, La Biennale di Venezia
Black Star – The Museum as Freedom | 23 April – 27 November, 2022

Following its highly acclaimed inaugural participation at the 2019 Biennale Arte, Ghana will present the exhibition Black Star — The Museum as Freedom. Titled after the Black Star that symbolises Ghana through its flag, and most important monument; connecting Africa with its diasporas through Marcus Garvey’s Black Star Line and his Back-to-Africa movement. Revived now in Ghana as Beyond the Return; as well as for Pan-Africanism and anti-colonialism with the symbol described as the Lodestar of African Freedom. The 2022 Ghana pavilion examines new constellations of this freedom across time, technology and borders. Curated by Nana Offoriata Ayim and designed by architect DK Osseo Asare the exhibition features large-scale installations by Na Chainkua Reindorf, Afroscope and Diego Araúja.

Dak’Art, Biennale of Contemporary African Art
Nkabom — The Museum as Community | May 19 – June 21, 2022

Curated by Nana Oforiatta Ayim, Nkabom — The Museum as Community ponders the various ways contemporary artists have interacted with the notion of Nkabom (coming together) as a community and collective. Investigating our co-existence with the earth, ritual gatherings and the environment, the exhibition features three artists who unify the idea of community and connection. Kuukua Eshun explores the reconnection of women of African descent with the earth in her film Born of the Earth; Rita Mawuena Benisson, remodels the Afayhe’s local festival spaces; and Kwasi Darko, whose work addresses contemporary issues showcasing the involvement of people in public urban spaces in Ghana.

Kukuua Eshun, Born of the Earth (an experimental film), 2022. © Kuukua Eshun. Courtesy of ANO Institute of Arts and Knowledge.

Reopening of the Ghana National Museum

In addition to this year’s program, The Institute’s Director is curating the reopening of the National Museum in June 2022 after seven years of closure, with the mission of creating a museum truer to the communities that make up Ghana.

Commenting on the 2022 program and ANO!s activities, Founder Nana Oforiatta Ayim states that:

"Since moving back to Ghana, ANO has been working on a series of interventions to question what kind of cultural institution might be right for our context. Over the last year, this has expressed itself in a series of exhibitions that reexamine the museum as home, as community, as a space of freedom, as well as ideas of sustainability and local resources and materials. It has also been working on a permanent structure where the alignment and ideas of home, community and freedom, and the use of local materials are expressed. Its twentieth anniversary sees the completion of the new ANO Studio built by 84 year old designer Ophelia Akiwumi, who has spent her career working with local, sustainable materials as well as historical forms and symbols. It also sees a shift in the focus of ANO deeper into the research and foundations of knowledge systems, as expressed in projects like the mobile museum and cultural encyclopaedia; and towards a more integrated model that encompasses not just the arts, but also the environment and education."

Left. Osu House. Headquarters of ANO Institute of Arts and Knowledge. Photo: NLC Ghana. Right. Portrait of Nana Oforiatta Ayim. Photo: Fifi Abban.

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NOTES TO EDITORS: 
About Nana Oforiatta Ayim

Curator Nana Oforiatta Ayim is a Writer, Filmmaker, and Art Historian who lives and works in Accra, Ghana. She is Founder of the ANO Institute of Arts and Knowledge, through which she has pioneered a Pan-African Cultural Encyclopaedia, a Mobile Museums Project, and curated Ghana’s first pavilion at the 58th International Art Exhibition of La Biennale di Venezia. She published her first novel The God Child with Bloomsbury in 2019, and with Penguin in German in 2021. She has made award winning films for museums such as Tate Modern, LACMA and The New Museum, and lectures a course on History and Theory at the Architectural Association in London. She is the recipient of various awards and honours, having been named one of the Apollo ’40 under 40’; one of 50 African Trailblazers by The Africa Report; a Quartz Africa Innovator in 2017; one of 12 African women making history in2016 and one of 100 women of 2020 by Okayafrica. She received the 2015 the Art + Technology Award from LACMA; the 2016 AIR Award, which “seeks to honour and celebrate extraordinary African artists who are committed to producing provocative, innovative and socially-engaging work”; a 2018 Soros Arts Fellowship, was a 2018 Global South Visiting Fellow at Oxford University, was appointed to the Advisory Council of Oxford University’s Cultural Programme in 2020, was a Principal Investigator on the Action for Restitution to Africa programme, and is currently Special Advisor to the Ghanaian Minister of Tourism, Arts and Culture on Museums and Cultural Heritage.

Fellowship, was a 2018 Global South Visiting Fellow at Oxford University, was appointed to the Advisory Council of Oxford University’s Cultural Programme in 2020, was a Principal Investigator on the Action for Restitution to Africa programme, and is currently Special Advisor to the Ghanaian Minister of Tourism, Arts and Culture on Museums and Cultural Heritage.

About ANO Institute of Arts and Knowledge

ANO is an arts and knowledge institution based in Accra and working internationally. It was founded in 2002 by Ghanaian art historian, writer and filmmaker Nana Oforiatta-Ayim and has been involved in numerous collaborations, publications, films, exhibitions and events nationally and internationally, with institutions, institutions like LACMA, Los Angeles; KNUST, Kumasi; The aim with ANO has always been to bring Ghanaian art to the centre of, and at equal level of, global art on its own terms, with the curation of the first exhibitions of artists like Ibrahim Mahama, James Barnor, Felicia Abban and of the first Ghanaian Pavilion at international platforms like the Venice Biennale, and to continuously investigate what kinds of structures, institutions, archives and narratives might be right for the Ghanaian, African and Diasporic contexts. In Accra its spaces has provided exhibitions, residencies, fellowships, talks programmes; it has also published books, produced films and workshops, a mobile museum project, and large-scale research projects, likes its Pan-African Cultural Encyclopaedia. anoghana | @ano_ghana

About Ophelia Akiwumi

Ophelia Akiwumi was born in Ghana and trained at the Paris Academy of Fashion in London, where she worked with fashion houses and modelled for prominent photographers and magazines including Drum Magazine. She returned to Ghana in 1963 and turned to interior design in 1976 and created her design company Art Deco in 1993. She works with lesser used species of woods, such as Raffia, Bamboo and Yaya to avoid overfilling and scarcity, and incorporates Ghanaian classical

symbols and fabrics.

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ARTEFACT.BERLIN GALLERY OPENS ITS SECOND EXHIBITION DEDICATED TO ITALIAN ARCHITECT AND DESIGNER MARIO BELLINI

Opening on May 7, 2022, The Aesthetics of Mario Bellini spans 60 years of Bellini’s unique approach to design. The exhibition will present a selection of furniture, lighting, glassware and porcelain objects, showcasing his innovative and complex oeuvre.

Opening Preview: May 6, 2022 | 5 – 7 PM

May 7 – June 20, 2022

Installation view of AMANTA modular sofa chairs as part of The Aesthetics of Mario Bellini exhibition at Artefact.Berlin. Photo courtesy of A R T Communication.

April 28, 2022 (Berlin, Germany) – After the successful opening of Artefact.Berlin in December 2021 and its inaugural exhibition, titled Remember that Time, featuring large-scale paintings by American artist Gunars Martinsons, the gallery presents The Aesthetics of Mario Bellini. On view in Berlin Schöneberg, from May 7 – June 20, 2022, the exhibition spans over sixty years of Bellini’s unique approach to design and displays different aspects of the designer’s multi-fold oeuvre. Curated by the cultural entrepreneur, Anna Rosa Thomae, the internationally renowned designer’s diversified assemblage is an exemplary symbiosis between art, design and architecture, as per Artefact.Berlin’s mission to supporting and presenting the three avenues as intrinsically connected disciplines.

The exhibition will present furniture, lighting, glassware and porcelain objects presenting a varied assemblage of some of Bellini’s most innovative and iconic designs as well as some of his little- known objects. Although Bellini’s designs were perhaps less ostentatious than his postmodern contemporaries, his work is celebrated for its originality, eternality and technical complexity.

Since the 1980’s Bellini has dedicated himself almost entirely to architecture, yet his furniture remains a timeless relic, celebrating the influential Italian designer and his successful and prolific body of work Anna Rosa Thomae explains, “Mario Bellini is the perfect unification of art, design, and architecture,” qualifying his work as an apt and opportune subsequent exhibition at the Berlin gallery. Accommodating a selection of Bellini’s finest works spanning several decades, witness a staged and curated display of his furnishings carefully sourced, hand-picked and restored to their prior wealth by Anna Rosa Thomae.

Left. Installation view of Mario Bellini's glassware. Right. Installation view of table lamp Model Area 20 Photo courtesy of A R T Communication.

The AMANTA modular sofa chairs were developed in the sixties and seventies, and the artefact records the transformational shift from the rigidity of Bauhaus design toward a playful and curvaceous, silhouette that represented the more informal and relaxed lifestyle of the period. For the exhibition, a set of two sofa chairs have been re-upholstered in a taupe velvet fabric, contrasting the customary white fiberglass shell backing. The designs are prompted by functionality as well as aesthetics and can be arranged and rearranged, as if a fluid sculpture one can sit on; its metamorphic temperament preordains its perpetual nature.

Additionally, the exhibition will present some of Bellini’s most iconic lighting designs, including the table lamp Model Area 20, originally created for the legendary Italian lighting manufacturer Artemide. Built upon an elegant ceramic base, the ivory lampshade is perched atop, and its silhouette is reminiscent of an opening flower. The furniture and lighting pieces are complemented by beautifully crafted porcelain and glassware objects from Bellini ́s long-term partnership with German manufacturer Rosenthal.

Established in December 2021, Artefact.Berlin is a gallery and project space prefiguring itself as an extension and complement to Thomae’s already reputed international cultural communications agency A R T Communication + Brand Consultancy, established in 2014. Through a series of curated exhibitions, the project is rooted in Thomae’s ongoing commitment to promoting the interrelatedness between art, design and architecture. With a rich program of carefully selected exhibitions focusing on contemporary art and design, the space stands as an important reference point for art and design collectors and enthusiasts worldwide.

Rooted in the Schöneberg district’s distinct architectural heritage, Artefact.Berlin will continuously connect with local art and design professionals and general audiences alike through a dense program of multidisciplinary events, talks, and performances, once again fostering Berlin’s extensive and widely diverse cultural community and its visibility worldwide.

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NOTES TO EDITORS:

About Mario Bellini:
Born in 1935, Mario Bellini is an Italian designer, internationally renowned for his menagerie of undertakings, ranging from furniture and product design, to architecture and urban planning. Bellini graduated in Architecture from the Milan Polytechnic – and established the international architectural and design firm Studio Bellini in Milan in 1973. He was chief editor of Domus magazine between 1986-91.
Bellini has won eight Golden Compass Awards, and has twenty-five pieces of his assembly held in the permanent collection of the MoMA - Museum of Modern Art in New York, among other prestigious museums both in Italy and aboard. As for architecture, he has contributed a selection of celebrated edifices including the Tokyo Design Centre, the Museum of Islamic Arts at the Louvre, Paris and the Museum of the City of Bologna, Italy.

About Anna Rosa Thomae:
Growing up in Berlin in the 1990s, Anna Rosa Thomae spent her formative years living and working between New York, London, and Berlin. With a career of over fifteen years in the field of global cultural communications Thomae has ceaselessly nurtured the premise that valuable synergies exist between, and can emerge from, art, design and architecture – a vision that led her to establish her own consultancy, A R T in 2014 in Berlin. Ever since, Thomae has worked with creatives across all continents, ranging from gallerists, museums, and artists to designers, architects, and more.
A versed art and design collector, constantly shaped by her professional and personal encounters, Thomae has developed an extensive collection bringing together vintage European furniture from the 1960s—1980s in tandem with Modern, Post-War and Contemporary Art.
Established in 2021, Artefact.Berlin is the symbiosis between these two passions that continue to develop to this day.

The Aesthetics of Mario Bellini, on view at Artefact.Berlin from May 7 2022 — June 20, 2022.

The Aesthetics of Mario Bellini

Artefact.Berlin | Geisbergstraße 12, 10777 Berlin, Germany

Opening Hours:
Monday – Friday
10 – 6 PM and by appointment

artefactgalleryberlin.com | @artefactgallery.berlin

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Le Sirenuse in Positano Reopens for the 2022 Season

Iconic luxury and lifestyle hotel Le Sirenuse is excited to announce its re-opening for the 2022 season on April 9.

March 30, 2021 (Positano, Italy) – We are delighted to announce that Le Sirenuse will open on April 9 for its 2022 season.

Le Sirenuse opened in 1951, when the Sersale family turned their Amalfi Coast summer house in Positano into a stylish small hotel. Today the 58-room resort is considered one of Italy’s leading seaside luxury hotels, though it still retains the intimate, cultured atmosphere of a private home. The rooms are contemporary but reminiscent of a glamorous bygone era. It may have renowned La Sponda restaurant and spa designed by architect Gae Aulenti, but Le Sirenuse is still very much a family affair. Second- generation co-owner Antonio Sersale looks after the day-to-day running of the hotel, while his wife Carla oversees Emporio Sirenuse, the resortwear and lifestyle brand sold via the two Emporio Sirenuse boutiques in Positano, emporiosirenuse.com and in leading stores worldwide. The couple’s two children, Aldo and Francesco, joined the family business in 2021, the hotel’s 70th anniversary year.

Le Sirenuse is a leading member of the Best Hotels of the World since 1970.

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MEDIA CONTACT
A R T Communication + Brand Consultancy (Berlin)

Anna Rosa Thomae | CEO & Founder | art@annarosathomae.com

NOTES TO EDITORS
Le Sirenuse

For more information, please visit sirenuse.it

Facebook | Instagram | @lesirenuse

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ANO Institute of Arts and Knowledge | Ghana’s National Pavilion At The 59th International Art Exhibition of La Biennale Di Venezia

GHANA COMES TO VENICE

Featured Artists:
Na Chainkua Reindorf, Afroscope, Diego Araúja

Commissioner: Akwasi Agyeman, Ceo, Ghana Tourism Authority Ministry of Tourism, Arts and Culture

Curator: Nana Oforiatta Ayim

Architect: Dk Osseo Asare

Installation view of The Ghana Pavilion. Black Star – The Museum as Freedom at La Biennale di Venezia. Photo: David Levene. © David Levene.

March 17, 2022, (Venice, Italy) The Ghana Pavilion at the 59th International Art Exhibition of La Biennale di Venezia, under the patronage of Ghana’s President Nana Addo Dankwa Akufo-Addo, will be on show to the public from April 23 through November 27, 2022.

Following its highly acclaimed inaugural participation at the 2019 Biennale Arte, Ghana will present the exhibition Black Star — The Museum as Freedom. Titled after the Black Star that symbolises Ghana through its flag, and most important monument; connecting Africa with its diasporas through Marcus Garvey’s Black Star Line and his Back-to-Africa movement. Revived now in Ghana as Beyond the Return; as well as for Pan-Africanism and anti-colonialism with the symbol described as the Lodestar of African Freedom. The 2022 Ghana pavilion examines new constellations of this freedom across time, technology and borders. Designed by architect DK Osseo Asare, and curated by Nana Oforiatta Ayim, Director of ANO Institute of Arts & Knowledge in Accra and Director at Large of Ghana’s Museums and Cultural Heritage, the exhibition features large-scale installations by Na Chainkua Reindorf, Afroscope and Diego Araúja.

Na Chainkua Reindorf takes masquerade and secret society traditions that historically were largely male, and creates her own mythology of Mawu Nyonu, a fictional secret society made of seven women, at one with the elements around them.

Installation view of The Ghana Pavilion. Black Star – The Museum as Freedom at La Biennale di Venezia. Photo: David Levene. © David Levene.

This notion of oneness is taken further by Afroscope’s work Ashe, which explores the spirit that runs through all the elements, using technology as a translator of the flow of life, as exemplified by water.

The theme also underpins Diego Araúja’s work, A Salt Congress, in which the Atlantic Ocean that served to separate those taken from the shores of West Africa to its diasporas, now acts as a unifier, the birthplace of a new creole.

The installation in Venice will be created by architect DK Osseo-Asare, co-founding principal of Low Design Office (LOWDO), a trans-Atlantic architecture and integrated design studio based in Ghana and Texas.

The Venice exhibition is framed by Nana Oforiatta Ayim’s concept of the Mobile Museum, which travels into communities across Ghana in co-curation and exchange, with the aim of creating accessible, contextual, inclusive spaces. In Venice, the Mobile Museum programme will be presented during the Biennale Arte season with events and workshops created in collaboration with diverse communities across the city.

Nana Oforiatta Ayim states: “Ghana in its 65th year still grapples with political, economic, cultural, social and knowledge systems not made of or for its contexts. Systems created within its communities over thousands of years were deemed inferior to ones termed ‘universal’ by dominant powers. As we outgrow and move beyond ill-fitting systems; new ones, not yet defined, that draw on rich histories, not with nostalgia but with discernment of hindsight and experience; are forming.”

“Each of the artists’ work is connected to the theme of the main exhibition Milk of Dreams, they are each of them future builders, creating new possibilities and worlds even and especially in this time of chaos: by exploring our spiritual connections with technology; by centering and expanding representations of women’s bodies and beings; by looking into how we rebuild relationships with our environment and each other.”

Installation view of The Ghana Pavilion. Black Star – The Museum as Freedom at La Biennale di Venezia. Photo: David Levene. © David Levene.

Diego Araúja, Untitled (from the creative process of Diego Araúja's 1st creollage, QUASEILHAS) 2018, Digital Collage © Diego Araúja

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NOTES TO EDITORS: 
About Nana Oforiatta Ayim

Curator Nana Oforiatta Ayim is a Writer, Filmmaker, and Art Historian who lives and works in Accra, Ghana. She is Founder of the ANO Institute of Arts and Knowledge, through which she has pioneered a Pan-African Cultural Encyclopaedia, a Mobile Museums Project, and curated Ghana’s first pavilion at the 58th International Art Exhibition of La Biennale di Venezia. She published her first novel The God Child with Bloomsbury in 2019, and with Penguin in German in 2021. She has made award winning films for museums such as Tate Modern, LACMA and The New Museum, and lectures a course on History and Theory at the Architectural Association in London. She is the recipient of various awards and honours, having been named one of the Apollo ’40 under 40’; one of 50 African Trailblazers by The Africa Report; a Quartz Africa Innovator in 2017; one of 12 African women making history in2016 and one of 100 women of 2020 by Okayafrica. She received the 2015 the Art + Technology Award from LACMA; the 2016 AIR Award, which “seeks to honour and celebrate extraordinary African artists who are committed to producing provocative, innovative and socially-engaging work”; a 2018 Soros Arts Fellowship, was a 2018 Global South Visiting Fellow at Oxford University, was appointed to the Advisory Council of Oxford University’s Cultural Programme in 2020, was a Principal Investigator on the Action for Restitution to Africa programme, and is currently Special Advisor to the Ghanaian Minister of Tourism, Arts and Culture on Museums and Cultural Heritage.

Fellowship, was a 2018 Global South Visiting Fellow at Oxford University, was appointed to the Advisory Council of Oxford University’s Cultural Programme in 2020, was a Principal Investigator on the Action for Restitution to Africa programme, and is currently Special Advisor to the Ghanaian Minister of Tourism, Arts and Culture on Museums and Cultural Heritage.

DK Osseo-Asare, Architect

DK Osseo-Asare is co-founding principal of Low Design Office (LOWDO), a trans-Atlantic architecture and integrated design studio based in Ghana and Texas. He co-founded the Ashesi Design Lab as Chief Maker and is Assistant Professor of Architecture and Engineering Design at Penn State University, where he runs the Humanitarian Materials Lab (HuMatLab) and serves as Associate Director of Penn State’s Alliance for Education, Science, Engineering and Design with Africa (AESEDA). DK Osseo-Asare creates architecture with and for the people that design overlooks.

Na Chainkua Reindorf, Artist

Na Chainkua Reindorf is a mixed media artist and mythmaker. Her work, which ranges from large- scale tapestries to immersive sculptural installations, is an exploration of and an ode to the rich cultural history of West African textiles, focusing largely on the complexities and visual culture surrounding masquerades and ceremonial costumes. She incorporates contemporary materials into her work, using these historical textiles and costumes as inspiration to investigate ongoing social topics centered on the politics of dress, identity and gender and their close relation to culture and tradition. Na Chainkua has exhibited internationally in institutions across the United States, as well as in France, Nigeria and Ghana.

Afroscope, Artist

Afroscope (Isaac Nana Akasi Opoku) is a speculative artist and designer for whom art-making is an attempt to deconstruct normative reality and challenge popular tropes by imagining transcendental visual narratives that comprise otherworldly beings, speculative dreamscapes and peculiar forms. He straddles the worlds of myth, mystery and automatism in his work, and sees art as portals into a multiverse of realities. He has exhibited widely in Ghana and Europe and was winner of the 2017 Kuenyehia Prize for Contemporary Ghanaian Art, Ghana’s foremost art award.

Diego Araúja, Artist

Diego Araúja is an artist born in Salvador-BA, Brazil, where he lives and works as an artist, director, and writer. He has directed the Creole Time process since 2015, considering the ongoing traumatic experience of Afro-Diasporic peoples and their descendants, He was director, playwright, and producer at Teatro Base from 2010 to 2017. In 2017, Diego Araúja and artist Laís Machado founded ÀRÀKÁ Platform, a space of creation and connection between Afro-Atlantic artists. He conceived a choreographic performance for the video installation A Marvelous Entanglement by artist Isaac Julien in 2018, was invited to artist residencies at Atlantic Center For The Arts in 2018 and SAVVY Contemporary in 2020. In 2019, he was invited by the German Ministry of Foreign Affairs to represent Brazil for the 56th Theatertreffen. In 2020, he participated in the Iberoamerikanisches Theaterfestival with his work QUASEILHAS. And in 2021 created an ephemeral architecture with the name Lands Giving Birth Gold connecting Brazil and Ghana through their respective work songs.

GhanainVenice

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Rony Plesl | Trees Grow from the Sky Collateral Event of the 59th International Art Exhibition – La Biennale di Venezia

The exhibition, a Collateral Event of the Biennale Arte 2022, presents a large-scale site-specific installation of glass sculptures in the historic Chiesa di Santa Maria della Visitazione. Conceived especially for the 59th International Art Exhibition, it marks the global premiere of Vitrum Vivum, a new revolutionary full relief glass casting technology – coinciding with the 2022 International Year of Glass.

23 April - 27 November 2022

March 1, 2022 (Venice, Italy) – The House of Art Ceske Budejovice, Czech Republic is proud to announce the exhibition Rony Plesl: Trees Grow from the Sky / Gli alberi crescono dal cielo as Collateral Event of the 59th International Art Exhibition – La Biennale di Venezia, on view from April 23 - November 27, 2022. 

Created by Czech artist and sculptor Rony Plesl, the site-specific installation will unveil four large-scale glass sculptures in the Chiesa di Santa Maria della Visitazione in the Dorsoduro district with views of the Giudecca Canal. They are developed using an unprecedented and unique glass casting technology, allowing the creation of grand glass sculptures without any limitations. Curated by Lucie Drdova, Prague-based art historian, gallerist, and author, the exhibition coincides with the 2022 International Year of Glass as proclaimed by the United Nations – and thus presents a timely artistic and technological exploration of the material. 

Plesl has been exploring the possibilities of the materiality of glass and glass sculpture for more than four decades. His sources of inspiration are deeply rooted in his fascination with geometry, the intimacy of the Italian Renaissance, and the architectural opulence of the Baroque. Plesl’s admiration for Caspar David Friedrich’s intense and emotional focus on nature his allegorical landscapes are reflected in this body of work. At the beginning of his career, he spent several formative years in Venice on the island of Murano, studying the material and learning the craft from Italian master glassmakers. In collaboration with glass professionals, he started to shift the perspective of glassmaking and its possibilities within contemporary art and for his own body of work. 

As an expansion of the master craftsmen that follow Czech Republic’s centuries-old traditional crystal production, hailing from the regions of Bohemia since the late 16th century, distinguished for the quality and beauty that has come to characterize its ateliers, and the techniques passed on by them, the Vitrum Vivum glassmaking technology further revolutionizes this craft. The unique process consists in casting glass as if it were bronze, giving the artist complete artistic freedom over the creative process that can begin with models made of paper, plaster or even objects found in nature, which in the end become artefacts themselves. Developed over the last 12 years by Jiri Sin, Czech glass master and inventor, the Vitrum Vivum technology reveals a world of possibilities in the glassmaking field. Plesl’s Trees Grow from the Sky marks the world premiere of sculptures of this scale using this new groundbreaking full relief glass casting technology. 

The installation concept was created by contemporary Czech architect Josef Pleskot and follows the proportions of the Renaissance architectural canon of symmetry and perspective. Four glass monoliths dominate the nave of the early Cinquecento church. Three pure crystal glass sculptures (600 kg and 205 x 75 cm each), characterized by the real imprint of an 80-year-old oak tree found in the woods of Northern Bohemia, are erected vertically in the centre of the space and mirror the rhythm of the columns of the church altars. The perfection of their bark is accentuated by the haptic character of the material, while the luminous and translucent surface invites the viewer to look inside, encouraging interpretation of an imaginary journey exploring the true essence of things.

The crystal larger-than-life trunks also allude to the symbolics of the number three and to the Franciscan thesis of complementarity of nature and man. The last tree, located near the altar, symbolizes a spiritual and transcendent message of transformation delivered through an actual metamorphosis of the tree's bark into a human figure. Made of uranium glass and covered with a bas-relief of the bodies of Jesus Christ, it illuminates the space with a mysterious, revelatory light. This radioactive uranium technique was discovered in Bohemia during the Baroque period and gives the glass an incredible subterranean phosphorescent glow in a bright yellow-green color. 

Trees Grow from the Sky explores the nature of human existence and the definition of humanity through a site-specific path that emphasizes man's introspective nature in a continuous metaphor with the glass as a living material. A spirit that reflects the theme of the 59th International Art Exhibition titled Il latte dei sogni / The Milk of Dreams, curated by Cecilia Alemani, which takes its name from Leonora Carrington's book — a call to self-transcendence, inviting one to re-envision life through the prism of the imagination, an invitation to embark on an imaginary journey through metamorphoses of the body, the conceptions of ourselves, and the definitions of humanity. 

Plesl explains, “the overall concept of the exhibition addresses questions of human existence and definition of humanity, touching upon the relation of man and nature, and its multiple layers of meaning. The narrative revolves around a journey; around seeking our path in the world of today.”

The Collateral Event is accompanied by a catalogue with essays by curator Lucie Drdova, Michal Skoda, artist and director of the House of Art Ceske Budejovice, and Petr Borkovec, poet, translator and journalist. The catalogue will be published in Czech, English and Italian. 

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NOTES TO EDITORS: 
Rony Plesl: Trees Grow from the Sky / Gli alberi crescono dal cielo
23 April – 27 November 2022
Chiesa di Santa Maria della Visitazione
Fondamenta Zattere Ai Gesuati, Venice, Italy
ronypleslbiennale | ronyplesl | rony_plesl


Press Preview
21 April | 10 am – 4 pm


Opening Hours
23 April - 25 September | 11 am – 7 pm
27 September - 27 November | 10 am – 6 pm
Closed on Tuesdays


About Rony Plesl
Rony Plesl, leading Czech artist, sculptor, designer, and professor (1965, lives and works in Prague, Czech Republic), ranks among top internationally acknowledged artists in the field of glass sculpture. His unique oeuvre grows out of his deep knowledge of quality glassmaking and the technologies he employs in his original designs and primarily in his artistic work. He explores the possibilities of glass sculpture and deliberately approaches it as a distinctive medium, with respect for the work of his predecessors – Professor Libensky and others, who founded this relatively young discipline in the Czech Republic – while also respecting the history of the craft. The monumentality of his work is enhanced by his use of a globally unique glass casting technology. The sense of detail and the precision grinding, typical of the Czech glassmaking school, are paramount in Plesl’s work, although they never supersede the conceptual ideas behind the art. It is yet another step towards the emancipation of the medium of glass sculpture; towards a unique definition of how far the limits of contemporary art can be pushed.
Since 2008, Rony Plesl is Head of the Studio of Glass at the Academy of Arts, Architecture and Design in Prague. In 2017, he was appointed Professor of Design and Architecture. Artworks by Plesl are represented in public and private collections in the Czech Republic and internationally.

About House of Art Ceske Budejovice, Czech Republic
The House of Art Ceske Budejovice ranks among leading European institutions in the context of public museums and galleries. Established and administered by the Statutory City of Ceske Budejovice, the non-profit organization of the kunsthalle type focuses on international contemporary art and architecture as well as leading local artists, firmly believing that one must always strive for high quality even in peripheral regions.
Previously exhibited artists include: Thomas Schütte and Christiane Löhr (both exhibitions moved to 2022), Antony Gormley (2019), Dirk Braeckman (2019), Mirosław Bałka (2017), Sean Scully (2016), Wolfgang Tillmans (2015), Martin Creed (2012), Carsten Nicolai (2011), Christopher Williams (2011), Eva Koťátková (2011), Lawrence Weiner (2010), Liam Gillick (2010), Silvia Bächli (2006), Florian Pumhösl (2005), Günther Förg (2001) and Mimmo Paladino (2000). Previously exhibited architects include: Barozzi Veiga Architects (moved to 2022), Sergison Bates Architects (2018), Peter Märkli (2017), Smiljan Radic (2017) and Caruso St John (2016).

About Lucie Drdova
Lucie Drdova (1982) is a Prague-based art historian, gallerist, and author. She combines her academic expertise (Department of Art History at Masaryk University in Brno and University of Applied Arts in Vienna) and professional experience at European exhibition institutions (Museum of Modern Arts in Vienna and Academy of Fine Arts in Prague) to curate contemporary art and promote the contemporary art scene. In 2012, she founded Lucie Drdova Gallery with a focus on contemporary art based in Prague and Brussels. In 2019, she co-founded The Alliance of Czech Contemporary Art Galleries and its SUMO Prague initiative to cultivate the shared space and establish gallery cooperation. In late 2020, she founded the Luc Art Fund to strengthen the international presence of Czech visual artists on the contemporary art scene. Drdova regularly publishes and lectures on topics concerning the institutional context of contemporary art, gallery practice and work of contemporary artists as well as the art market for Czech professional media and newspapers. She currently pursues a doctoral degree in art history at the Academy of Fine Arts in Prague, with a focus on institutional practice and operation models of museums and galleries in the field of contemporary art.

Image credits:
Rony Plesl, Installation Trees Grow from the Sky, 2022. Photographer Petr Krejci © Rony Plesl.jpg

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Chybik + Kristof Unveil Design for a Multipurpose Skyscraper in the Heart of Ostrava's City Center | Rethinking its Typology and Activating Public Space

Deeply rooted in the historical context of Ostrava town, the plans for Ostrava Tower reconsider the typology of a skyscraper to serve its multipurpose functions and activate the public space. Upon completion in 2027, it will be the tallest skyscraper in the Czech Republic.

February 15, 2022 (Ostrava, Czech Republic) – CHYBIK + KRISTOF (CHK) unveil plans for the construction of Ostrava Tower, a 235 metre-tall and 98,000m2 multipurpose skyscraper located in the heart of Ostrava’s city center. Initiated by the architects in 2019, their latest urban infill project addresses the need to reconsider the typology of the skyscraper into a new functional entity responsive to the contemporary social needs, and in this case, the rehabilitation and reactivation of the post-industrial town of Ostrava.

Over the course of the last three decades, Ostrava has transitioned from a coal-mining and metallurgical city to a service and information-driven industry requiring the urban landscape to transition and adapt to this new rapidly growing cultural economy. With its rich history deeply affected by its traditional infrastructure, the capital of the Moravian-Silesian region, on the border of Poland has a metropolitan area population of almost one million inhabitants and is the third largest city in the Czech Republic. The rapid development of the former industrial sites to cultural and residential buildings, initiated by both public and private investors points to the future city of Ostrava. These include a new concert hall by Steven Holl Architects, museums, university campuses, galleries, as well as residential and service projects to meet the population’s needs.

With its design for Ostrava Tower, CHK respond to the rejuvenation of the city and its social needs. The 56-storey skyscraper underlines the studio’s dedication to rehabilitate the city center and activate public space within the tower and its immediate environment. The iconic X-liked shaped structure and with it, its diagonal geometry, unifies the entire building, allowing its alternating levels of publicly accessible functions and private facilities to act in harmony. Shifted on its own axis, the design of the building composed of a complex set of alternating walls and its glass façade, supports the multipurpose functions and enables the residential units’ stunning vistas of the city and the surrounding landscape, while also providing privacy and substantial living space.

The shape of the building expands out, offering expansive views with its sky garden, while simultaneously level zero connects the lobby to its new square, expanding and activating public space. The new plaza is designed in a way that it correlates to the scale and purpose of the inside spaces. Purposely, the architects designed the two widest spaces (the lobby and sky garden) to be used as recreational areas, inviting the public to activate the building’s public space.Dispersed throughout Ostrava Tower, additional public spaces include; offices, a congress centre, retail services and a hotel. The panoramic rooftop with a café, a restaurant and bar are open to the general public.

Fusing design and Ostrava’s demand for new social infrastructure, CHK revive and foster the significance of the skyscraper. Cofounding architect Michal Kristof states:

“Rethinking the typology of the skyscraper and its function to serve the public and activate the urban environment, one of our core missions was to create a positive social impact in the heart of Ostrava. The studio’s intention was to create a simple but powerful form that acts as a beacon into the city center.”

Situated on a vast piece of land that was once created by previously resolving a large-scale traffic artery and its links to the city, the tower acts as entry point and hub for business, culture and leisure in Ostrava. Connected to a bus terminal and situated at the foot of a bridge, the new design expands the ground floor plaza, shaping itself to increase the amount of public space available on the site. The pedestrian entry is entirely barrier-free, accessible from all sides and visible from all angles, and becomes a major point of attraction, in turn redefining the flow of the abandoned territory into a linked urban portion of the city centre.

Due to be completed in 2027, Ostrava Tower echoes the town’s industrial heritage and inspired utilitarian architecture. This project by CHK underlines the importance to rethink and adapt the typology of the skyscraper as a multifunctional entity, transforming the design into a dynamic social hub, responsive to the contemporary social needs and the rehabilitation of developing urban cultural economies.

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NOTES TO EDITORS

About CHYBIK + KRISTOF
CHYBIK + KRISTOF is an architecture and urban design practice founded in 2010 by Ondrej Chybik and Michal Kristof. Operating with 50+ international team members and offices in Prague, Brno and Bratislava, the practice aims at creating bridges between private and public space, transcending generations and societal spheres. Taking into account local histories and environmental specificities, the studio works on a wide array of projects, ranging from urban developments to public and residential buildings. Recent projects include: the Czech Pavilion at Expo 2015 (Milan, Italy), Lahofer Winery (Czech Republic), Zvonarka bus station (CZ) or Multipurpose arena in Jihlava (CZ). The studio has been awarded a number of prizes including the 2019 Design Vanguard Award from Architectural Record, and was recently amongst the European Centre for Architecture Art Design and Urban Studies’ 2019 40 Under 40 Award winners.
chybik-kristof.com

Year: 2019 – 2022 Size: 98000m2 Status: Ongoing

Project Team: Ondřej Chybík, Michal Krištof, Martin Křivánek, Martin Žatečka, Vadim Shaptala, Martin Holý, Denisa Annová, Ivo Stejskal, Ondřej Švancara, Benjamin Daniels, Emanuele Faggion, Jan Šefl , Natália Korpášová, Gabriela Voláková, Roman Chervonnyy, Sophia Tligui, Marek Frait and
Anna Serysheva.

Co-author: Anarchitekt - Jiří Soukup
Egineering: Bollinger+Grohmann, VIN Consult, K4 Architects & Engineers, INKOS-OSTRAVA Facade: MGS Group Transportation: Atelier Dua Geology: Baugrund Dresden
Vertical Transportation: Schindler, KONE Lighting: ATELIER DEK
Development & Marketing Strategy: Henceforth
Marketing & Media: SILVER B.C.
Illustrations: Alexey Klyuykov
Photo: Alex Shoots Buildings
Visualization: Igor Brozyna - PLACES studio, NORVISKA, Dousek Zaborsky

Image credits
CHYBIK + KRISTOF, Renderings of Ostrava Tower. Courtesy of CHYBIK + KRISTOF Architects & Urban Designers
.

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TheArtists | A New Non-Profit Platform Offering Unseen Work by Emerging Artists Curated by International Artists and Curators

Dedicated to supporting artists, TheArtists launches a new digital sales platform that presents a dynamic opportunity to discover, support and collect the works of international artists without gallery representation, creating an alternative space for a more accessible art market. Marking its launch, TheArtists.net unveils three curated selections by acclaimed artist Gregor Hildebrandt, art collective Slavs and Tatars, and UK-based curator Maya El Khalil, the first of many more to come.

February 2022 – TheArtists is a new non-profit platform with the goal of supporting and promoting the work of contemporary artists not (yet) represented by a gallery. Eager to share new perspectives on the international art scene, and to propose an alternative model to traditional art market models, this new initiative gives the artists a voice and visibility. At its core lies TheArtists.net, an online platform to discover, support, and collect carefully selected works by seldom presented artists, curated by world-renowned artists, curators, and professionals. Marking its inauguration, the first three curated selections were hand-picked by reputed German artist Gregor Hildebrandt, art collective Slavs and Tatars, and UK-based curator Maya El Khalil, featuring over 25 international artists.

TheArtists.net will unveil at least four curated selections a year – for each iteration, the invited curators select artworks of outstanding quality accessible exclusively via TheArtists’ digital platform for a limited time period. Driving the selection are the artists themselves, giving rise to an entirely transparent process and resulting digital platform on which each artwork selection comes supported by high-quality visual documentation in tandem with insights into each artist’s creative process, records, and interviews.

Free and open to all, TheArtists is conceived as a levelled meeting place for art world professionals of all horizons – gallerists, curators, institutions, collectors and the general public – allowing them to uncover new talents while having access to distinct and specifically crafted materials, contextualizing the work of each artist. Ultimately, TheArtists becomes a place for connoisseurs and amateurs alike to start and grow a collection.

A bold alternative and complement to the traditional gallery model, TheArtists.net offers art at reasonable prices with unprecedented financial transparency, mirroring a fair and equal process for all its artists. “65% of the sale proceeds get paid out directly to the artist. Upon conclusion of each selection, 5% thereof goes into a community fund which is split equally between all artists of one selection. The remaining 35% are entirely reinvested in the project and its continuous expansion in the long run.”

In addition to the digital sales platform, as a constantly evolving contemporary online archive, cultivated by the very individuals that constitute it, TheArtists support each artist in presenting their work, communicating their practice, and facilitating an initial entry into the art world and market. A key aspect is the individual coaching and mentoring of the artists themselves – as all participating artists receive practical assistance and consultation to further develop their practice, expand their network, and navigate the art world on the long term, understanding the dynamics of a very fast shifting art market.

Moving away from notions of selectiveness, each selection is conceived to reflect a group of artists and their works to coexist on TheArtists’s online platform in a manner that mirrors the vision of the given curator – often an artist themself – at a given time. As such, the resulting online presentation develops organically, with the ultimate ambition of fostering a community rather than nourishing a form of exclusivity often observed in traditional market models.

Selection # 1 | Gregor Hildebrandt
The first selection is curated by German artist Gregor Hildebrandt, who currently lives and works in Berlin. Hildebrandt has selected 15 artists – approx. 200 artworks – produced by his students at the Academy of Fine Arts, Munich. Presented artists include: Julia Emslander, Erik Esso, Ana Daniela Koch, Lara Koch, Jaemin Lee, Peng Li, Timur Lukas, Ly Nguyen, Boris Saccone, Laurentius Sauer, Gemma Solà Sotos, Ludwig Stalla, Franz Stein, Johanna Strobel, Esther Zahel, and Peter Zahel.

Selection # 2 | Slavs and Tatars
The second selection of artists is curated by the internationally renowned art collective Slavs and Tatars –and is devoted to artists from Eastern Europe. Five artists from Poland, Slovenia, Belarus, and Germany present approx. 100 artworks in a variety of mediums, including sculpture, experimental photography and digital paintings. Presented artists include: Florian Auer, Rafal Dominik, Uladzimir Hramovich, Stane Jagodič, and Renata Rara Kaminska

Selection # 3 | Maya El Khalil
The third selection by curator Maya El Khalil focuses on four young talents emerging from the Saudi art scene. Presented artists include: Afra Alsuwaidi, Sarah Brahim, Bashaer Hawsawi and Aziz Jamal.

Future selections will be curated by Director of the Hamburger Kunstverein (Germany) and future director of MUDAM (Luxembourg) Bettina Steinbrügge and Turkish conceptual artist based in Amsterdam (The Netherlands), Ahmet Ögüt, Mitchell Anderson, artist and founder of off-space Plymouth Rock in Zurich, and Swiss artist Raphael Hefti – to cite but a few.

TheArtists was created by Maren Brauner, Martin Heller, Michael Oswald and Beat Raeber – four art world professionals with the mission to give visibility and support to contemporary artists all-the-while setting forth new models based on a dynamic, transparent and accessible experience of art. They explain:

“A timeless observation in the art world has been the necessity for artists to be independent on a material level in order to focus on their artistic practice. Our platform places itself at the crossroads between offer and demand – a meeting point for engaged, inspiring artists to present their work, in a transparent and loyal manner, to aspiring collectors and astute professionals alike. Our platform pledges to establish a culture of best practice, where respect and antidiscrimination are paramount in our dealings, towards artists, customers and any third party.”

In addition to the digital sales platform, TheArtists also invites to studio visits and physical exhibitions, offering an unparalleled insight into the artists’ practice for collectors, art professionals such as gallerists, curators, art advisors and the like. TheArtists is an ongoing invitation to get acquainted with unknown positions, diverse practices, and ultimately to get to know and support artists.

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NOTES TO EDITORS:

About the Founders:
Behind TheArtists are Maren Brauner, Martin Heller, Michael Oswald and Beat Raeber. Beat Raeber is an enabler and supporter of contemporary artistic practice and has worked with internationally renowned artists with his former gallery RaebervonStenglin. Michael Oswald is the Creative Director of his agency OSW. Martin Heller is a Berlin-based lawyer and a longtime experienced consultant and counsellor for artists, galleries and institutions worldwide. Maren Brauner is a curator, art mediator and editor.

TheArtists | TheArtists.net | Facebook | @theartists | Instagram | @theartistsnet

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Heim Balp Architekten Unveil Plans for the New Rocket Espresso Headquarters in Milan

The Berlin-based architecture practice have broken ground on their construction of the acclaimed specialist coffee machine producer’s new integrated headquarters. Bringing together the full scope of its activities, the expansive campus is conceived as both production base and commercial site, all-the-while reflecting the architects and the Italian brand’s shared commitment to authenticity.

January 2022 (Milan, Italy) – Paying tribute to the reputed domestic and commercial espresso machine manufacturer, the Berlin-based architecture practice HEIM BALP ARCHITEKTEN have unveiled their design for the new Rocket Espresso headquarters. Located in the periphery of Milan, Italy, the brand’s historical birthplace, the extensive campus replaces the firm’s three existing facilities, bringing together for the first time administrative, production, and commercial activities. Reflecting Heim Balp’s engagement in communicating culture through architecture, the design builds on the notions of sustainability, transparency, and community as witnesses to the Italian brand’s distinct identity – and commitment to authenticity.

Due for completion in late 2022, Heim Balp’s plans for the new grounds of Rocket Espresso spread across 6.800 m2 divided into two main connected buildings. The first encompasses the logistics, production, and storage facility, connected by a bridge to the second, thought as an open office building combining administrative and marketing activities. At its core lies the architects’ consistent espousal of architecture as a means to firmly and conscientiously translate the decades-old company’s character and profound anchoring in 1960s Milan’s iconic design scene – which have led its worldwide recognition as both a specialist tool and a collector’s item.

The comprehensive yet minimalist design is rooted in sustainability. Reflecting at once the brand’s longstanding and meticulous choice of materials and Heim Balp’s receptivity to contemporary demands, the main objective is to reduce waste to a minimum. The environmentally conscious structure is made from existing and repurposed concrete, combined with an assemblage corrugated metal panels, a curtain-wall and a green roof. Expanded across the roof area of the production hall, solar panels consistently contribute in generating the energy necessary to support the factory’s production and the facility’s heating and cooling systems.

Green spaces, and the preservation thereof, are a key feature across the facility. Despite the industrial zoning the project aims at providing the maximum amount of green surface possible due to the direct proximity to the preserved area of Park North Adda River, a large wetland area characterised by the presence of a system of glacial river terraces. The north side of the plot and the administrative building is punctuated with a flourishing internal courtyard and immersed in a new park, the wider plot is surrounded by permeable fencing, allowing the local flora and fauna to grow and circulate freely.

A second marker of the design is structural and hereby conceptual transparency. An open space both externally, in how it communicates with its surroundings, and internally, the design is conceived to clearly delineate all steps of the production process – from the research and design to marketing and construction. The most evident indicator of the latter is the red path that weaves through the construction, encouraging visitors to follow and discover the entirety of the process, with the connecting walkway between the two buildings literally bridging two commonly disassociated sectors of production. Transparency is rendered both horizontally and vertically throughout the two main edifices. In the first, Heim Balp’s signature hybrid, transparent façades once again leave their imprint: the flat office building consists of an open lobby space surrounded almost exclusively by windows. In the second next to it, the two-floor production warehouse features a mezzanine providing visitors with an expansive, exhaustive view of the manufacturing phases, from fabrication and assemblage to delivery.

Heim Balp and Rocket Espresso’s core principles lastly coincide with the third founding notion of this new design, that of community. The term campus most fittingly describes a design thought to foster a sense of sharing and belonging both within the company and with wider audiences. Internally, all steps of the production process are brought together under one roof – a single inclusive, egalitarian, flat space. While this demonstrates the brand’s valuing of all stages, and teams, as equally important, this configuration also cultivates an inherent brand culture shared across the entire workforce by virtue of all teams experiencing and communicating within a same space.

To external audiences, the scope and versatility of these headquarters is spelled out in a mixed-use structure. Beyond a factory complex, the infrastructure, driven by the firm’s long-lasting marketing efforts, also positions the site as a cultural hub, mirroring both Rocket Espresso’s brand and its rooting in Milan’s acclaimed modern design scene. Minimalist and clearly articulated, the materials and organization of the space reflect the coffee machine as handcrafted object and brand, and its identifiable character: steel-heavy, resilient, raw. In incorporating distinct yet connected spaces, from the design showroom to the training facility for both barista and domestic use, it acts as an accessible venue, allowing diverse audiences – professionals and amateurs alike – to nurture and expand their attachment to the label.

Pietro Balp, lead architect and co-founder of Heim Balp Architekten, explains:

“The aesthetics and most importantly the composition of Rocket Espresso’s new headquarters were conceived in close collaboration with and consideration of the brand’s various representatives and users, ranging from engineers and designers to baristas and amateur coffee-makers. By engaging with these diverse, interconnected actors, the design allows them to extend their experience of coffee-making, all-the while demonstrating the enduring red line of authenticity as a key guiding principle in the history and future of the brand.”

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NOTES TO EDITORS:
About Heim Balp Architekten:

Heim Balp Architekten is a Berlin-based architecture and urban design practice founded in 2006 by Michael Heim and Pietro Balp. Influenced by its founders’ individual experiences of 1990s Berlin, the practice’s vision is rooted in the notion of architecture as social incubator. With projects across Europe from Berlin to Barcelona and Milan, their designs range from residential and cultural projects to commercial and work environments. With teams in Madrid and Milan, the studio has engaged in over 150 European and global projects. Recently completed projects include Carrer de la Diputació and Carrer de Nàpols, Barcelona, Spain (residential/hospitality); Lindower Straße, Berlin, Germany (mixed-use); Casa d’Poço, Mindelo, Cabo Verde (hospitality); the MCE Production Facility, Timisoara, Romania (commercial/industrial); and Gutshof Güldenhof, Stechlin, Germany (cultural).

About Rocket Espresso, Milan:
Rocket Espresso celebrates Italy’s love for the finest coffee – an expression of the nation’s art of appreciating life’s pleasures. Using time-honoured methods and the highest level of expertise, the brand handcrafts premium domestic and commercial espresso machines, beautifully made with meticulous care and attention to detail. World- renowned for producing the finest espresso machines in the traditional ‘Fatto a Mano’ method, which translates to ‘made by hand’, Rocket Espresso's story dates back to 2007. The first iconic model, the Giotto Rocket, became the foremost domestic espresso machine to grace the kitchens of coffee connoisseurs around the globe. Today Rocket Espresso, led by two Italian partners, has created a range of impressive espresso machines specifically designed to meet the needs of today’s most exacting espresso customer. Based near Milan, their team of Italian craftsmen produce both premium domestic and commercial espresso machines, beautifully made with meticulous care and attention to detail. Most importantly Rocket Espresso machines deliver the finest espresso in the cup, time after time.

Project Information:

Project Name: Rocket Campus
Location: Milan, Italy
Completion Date: 2022 (to be determined) Type: Mixed-use (commercial; industrial; cultural) Gross Floor Area: 6.800 m2 / Plot Area: 12.000 m2
Project Team: Antonio Seghini, Maria Feller, Maria Vittoria Monaco, Cansu Caner, Mehrdad Jabbari

Heim Balp Architekten
www.heimbalp.com
Instagram | @heimbalp

Rocket Espresso
www.rocket-espresso.com
Instagram | @rocketespresso

Image credits:

Heim Balp Architekten

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Bernar Venet, 1961—2021. 60 Years of Sculpture, Painting & Performance

On view from January 29, 2022 in Berlin, this dive into all facets of the internationally-renowned French artist’s 60-year oeuvre will showcase over 150 works across the reappropriated Tempelhof Airport’s hangars 2 and 3.

 January 29 – May 30, 2022

 Kunsthalle Berlin. Tempelhof Airport, hangars 2 and 3

Bernar Venet

Installation View: BERNAR VENET. 1961 – 2021 | Kunsthalle Berlin – Flughafen Tempelhof. Photo: Daniel Biskup, Courtesy: Stiftung für Kunst und Kultur Bonn. ©Bernar Venet, ADAGP 2022.

January 12, 2022 (Berlin, Germany) – Bernar Venet, 1961—2021. 60 Years of Sculpture, Painting & Performance is the internationally-renowned French artist’s largest and most comprehensive retrospective in the world to date, spanning the entirety of his complex and widely diverse oeuvre as a sculptor, painter, performance artist – and radical conceptual artist. The exhibition will bring together over 150 works, reflecting the artist’s uncompromising approach and natural obsession for constantly shaping his environment through his art. On view from January 29 – May 30, 2022, the show is the first in a series of exhibitions to unfold over the next two years in the Kunsthalle Berlin across the spectacular hangars 2 and 3 of Berlin’s emblematic Tempelhof Airport.

Organized by the Stiftung für Kunst and Kultur, curated by Walter Smerling, Bernar Venet, 1961—2021 charts the trajectory of the artist’s career from his very beginnings in his studio, which was made available to him by the French army during his military service, and which form the cornerstone of a body of work that has repeatedly called itself into question. Venet has consistently affirmed his concept of art as an attitude which extends far beyond the formal and the spatial. His aspirations to this day are firmly rooted in the unbounded desire to simply never accept the world as it is, instead lending it his own perspective. Landscapes and spaces suddenly assume a new dimension, allowing the observer to differently view - and feel - the energetically charged space in which his signature steel lines, arcs and angles are installed.

The exhibition is a personal homage to Dr. Paul Wember, as Venet pays tribute to the director of the Kaiser Wilhelm Museum in Krefeld – the very first to grant the artist a solo exhibition in 1970 at a time when no gallery had shown his work outside of group exhibitions.

One of the exhibition’s focuses is Venet’s work from 1966 to 1970 – his conceptual years in the United States – revealing the extreme radicality of an artistic approach which gave him international recognition at a very young age. Since 1979, and the fabrication of his Indeterminate Lines, his work has taken a turn towards the formalist. In addition to his wood reliefs, he has developed a unique steel sculpture style which can be seen today in capitals across the continents. For the show, Venet will use the sculptural elements of his large-scale installation at the Louvre Lens, France to specially conceive four different installations made of Arcs, Angles and Straight Lines unfolding across Tempelhof Airport’s spacious, yet seldom invested warehouses. 

Bernar Venet

Cor-ten steel, 2022. Site-specific dimensions / variable dimensions. Photo: Daniel Biskup. Courtesy: Stiftung für Kunst und Kultur Bonn ©Bernar Venet, ADAGP 2022

In tandem with his sculptural work, the exhibition expands Venet’s complete painting work, from his first
1961 Goudron (Tar) paintings to his most recent, Equations and Saturations, the textual and mathematical symbols of which become the defining elements over richly colored backgrounds. With these paintings, Venet rejects formalism as much as the idea of abstraction. While abstract art commonly refers to what is non-figurative, these new works function within another category. By presenting what are usually defined as “mathematical objects” (numbers, figures, spaces, functions, relations, structures), the works attain a maximum level of abstraction: the non-referential is pushed to its extreme limits. In sum, contrasting it to abstract art where a symbolism of form or color is implied, Venet offers a maximal self-referential system, which only a mathematical equation can offer.

Installation View: BERNAR VENET. 1961 – 2021 | Kunsthalle Berlin – Flughafen Tempelhof. Photo: Daniel Biskup, Courtesy: Stiftung für Kunst und Kultur Bonn. ©Bernar Venet, ADAGP 2022.

Throughout the course of exhibition Venet will activate the space with on-site performances, including Domino Effondrement, first performed in 2021 as part of the Venet Foundation’s annual exhibition (Le Muy, France), in which he uses a forklift to trigger the collapse of a seemingly random array of corten steel arcs – weighing over 30 tons – leaving them scattered across the floor, as order and chance grow inextricably bound together in this clearly visible accident. Also presented are iterations of The Steel Bar and the Pictorial Memory of the Gesture performance, which use the line as a tool to intersect the mediums of performance, painting, and sculpture. Using a steel beam coated in paint, Venet leaves the trace of the movement of the bar on the exhibition walls. Calling to mind the subtle asymmetry of inkblots used during The Rorschach Test, the work pushes the boundaries of Venet’s oeuvre by demonstrating how the body can be used as a tool to bring the mathematical concept of the line to life.

Unerringly direct, calculating, convinced of the emotionality and of the intention to symbiotically marry his existence with his creative aspirations, Venet once again renders his ultimately deeply optimistic aspiration not to reinvent the world, but to alter his viewers’ perception of it.

The exhibition follows the presentation "Diversity United. Contemporary European Art" in the former Tempelhof Airport from June 9 to October 10, 2021. Following its successful joint collaboration, Tempelhof Projekt GmbH and the Foundation for Art and Culture have agreed to work together and present future exhibitions in the Kunsthalle Berlin at hangars 2 and 3 of the former Tempelhof airport, initially for the next two years. The project is realized with the generous support of CG Elementum AG and its CEO Christoph Gröner.

NOTES TO EDITORS:

KUNSTHALLE BERLIN
Hangar 2 (Entrance) and 3
Columbiadamm 10
12101 Berlin, Germany
 

Opening Hours
Mo                   11 AM – 6 PM  
Tuesday          closed
Wednesday     11 AM – 8 PM 
Thurs – Sun     11 AM – 6 PM 
 

Tickets
Adults                          10 €
Family                         16 € *
Children                       free**
Reduced                     5 € ***
 

* 2 Adults + Children 
** Children under the age of 16
*** Groups of 10 or more and schoolchildren, students, unemployed, and ALG II recipients, recipients under the Asylum Seekers' Benefits Act, and disabled persons and their companions.
 

Catalogue
Bernar Venet 1961–2021, 60 Years of Sculptures, Paintings and Performances 
336 pages
ISBN : 978-2-37372-145-4 / 45 €
Printed by Editions Dilecta, Paris. Distributed by Buchhandlung Walther König. 

Organiser | Stiftung für Kunst und Kultur Bonn (Foundation for Art and Culture)
The Foundation for Art and Culture in Bonn is a non-profit organization, which was founded in 1986 as a private initiative. The overarching objective of the Foundation is to actively foster art and culture as an essential, stimulating and integral part of our civil society. Since its inception, it has focused on the conception and realisation of art exhibitions, and particularly on the presentation of art in the public space.

Organising discussions and events at the interface of culture, politics and commerce, the Foundation also supervises the operation of the MKM Museum Küppersmühle for Modern Art in Duisburg.
To date, the Foundation has staged many exhibitions and launched other art projects, both at home and abroad. Chairman of the Foundation is Walter Smerling.
www.stiftungkunst.de | www.kunsthalleberlin.com
Instagram @stiftungkunstbonn | Facebook @stiftungkunst | Twitter @stiftungkunst

Emporio Sirenuse Positano Expands its Home Collection

Emporio Sirenuse presents new additions to its Home Collection – a splendid series of glassware, embroidered cushions, and decorated ceramics that echo the timeless aesthetics of the Amalfi Coast and pay homage to its continuing, evermore travelled tradition.

Left. Chiara Goia. Suzani plates 33cm Ø. Home Collection 2022. Right. Chiara Goia Aria Glass. Home Collection 2022.

December 10, 2021 (Positano, Italy) – The reputed luxury lifestyle brand Emporio Sirenuse, founded by Carla Sersale of the iconic family-run hotel Le Sirenuse, unveils the latest additions to its Home Collection. A collection of Murano glassware whose transparency romantically engages with the seascape of the Amalfi coast, tribal textured cushions paying homage to the embroidered Suzani and Ikat fabrics collected over the years by the late Franco Sersale – father-in-law of the founder – and hand-decorated ceramics inspired by the long tradition of the village of Vietri, will join the brand’s carefully designed fashion collections of beach-and resortwear, which continuously distill the values and verve of the inimitable Amalfi Coast hotel.

 

The Aria Glass Collection lends its name to the air we breathe, aria in Italian, and more specifically to the refreshing breeze that brushes the waves of the expansive sea surrounding Positano. An immersive series of glassware whose surfaces, like the reflective tints of the water once touched by light, project luminescent reflections in motion, their aquatic essence inspires a slow dance of changing hues on a cloud at sunset.

Designed to hold cocktails, long drinks, and generous cascades of ice, the Aria pieces embrace Negronis, Spritzes and Americanos as they do the refined champagne and local wines served on the airy terraces of Positano's Le Sirenuse hotel. Each Aria piece is individually blown by master glassmakers in the Murano furnaces of Nason Moretti, a company whose centennial history has long been at the forefront of the artistic Venetian glassmaking scene.

Chiara Goia. Suzani Cushions. Flower Square Pillow Cases. Home Collection 2022

The Suzani Cushions Collection seeks its inspiration from the Suzani- and Ikat-embroidered fabrics that populate the rooms filled throughout the years by the late Franco Sersale. Father-in-law of Carla Sersale, the passionate world traveler minutely composed a collection of objects and artworks alike which to this day form the core of the hotel’s unique flair. These striking silk covers are hand-embroidered by traditional artisans in Mumbai, as nomadic Central Asian arts and crafts make their first appearance in the flagship store on the Amalfi Coast – a chic and carefree interpretation of traditional Tajik, Uzbek and Kazakh motifs, which enter by a "step jazz" into the contemporary era with the tribal energy of its patterns and textures.

The same spellbinding range of motifs that call back to the ancient Suzani-embroidered fabrics of Central Asia, first developed into a collection of cushions, now finds their way into the new selection of Suzani Plates. Hand-painted ceramics from the storied traditions of Vietri, a small village at the end of the road to Amalfi, they revisit the motif, whose embrace of the material looks bolder and more striking than ever. Here, the Orient once again meets the Italian coast, celebrating the ingrained heritage of port cities, beating hearts par excellence of the dialogue between cultures, where objects, ideas, stories, and endless discoveries have never ceased to transit.

Emporio Sirenuse founder Carla Sersale explains: 

“Our Suzani cushions and plates draw from ancient patterns of old civilizations from Central Asia. We reworked these themes in a modern, minimalist way, embroidering them on silk in India and hand painting them in Vietri style by our local skilled ceramists. The rainbow coloured, lightweight glassware adds and compliments the rest of our collection”.

The collection is available online at emporiosirenuse and exclusively on matchesfashion

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NOTES TO EDITORS:
About Le Sirenuse:

Le Sirenuse opened in 1951, when the Sersale family turned their Amalfi Coast summer house in Positano into a stylish small hotel. Today the 58-room resort is considered one of Italy’s leading seaside luxury hotels, though it still retains the intimate, cultured atmosphere of a private home. The rooms are contemporary yet reminiscent of a glamorous bygone era. The hotel may hail the renowned La Sponda restaurant, and a spa designed by architect Gae Aulenti, but Le Sirenuse is still very much a family affair. Second-generation co-owner Antonio Sersale looks after the day-to-day running of the hotel, while his wife Carla oversees the boutique Emporio Sirenuse and designs beach-oriented fashion collection Le Sirenuse Positano. Le Sirenuse has won numerous awards and is internationally renowned for the quality of its services.

sirenuse.it/en

 About Emporio Sirenuse Positano:

Since opening in 1990 opposite the Sersales's iconic Le Sirenuse hotel, the Emporio Sirenuse Boutique has developed into a flourishing lifestyle brand with an e-commerce site and two adjacent shops in Positano: a Men's, Home Décor & Lifestyle store and a Women's store.

Founder Carla Sersale's own collection of resort wear, Le Sirenuse Positano, was launched in 2013 at the boutique. The line includes a unique range of prints and embroideries on caftans, silk summer dresses, and easy separates. The brand has since grown a loyal following worldwide and is distributed internationally at top retailers including Matchesfashion.com, Bergdorf Goodman, Net-a-Porter.com, Aerin, Kirna Zabete, Ounass, Harrods, Luisa Via Roma, and other select retailers worldwide.

 Homeware – including glasses, ceramics and textiles – accessories, and fashion pieces are all handpicked or designed by Carla Sersale and curated to embody the chic, understated elegance of the hotel and lifestyle on the Amalfi Coast.

emporiosirenuse.com | @lesirenuse | @emporiosirenuse

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Artefact.Berlin Opens with the First of a Series of Exhibitions dedicated to Contemporary Art and Design

Opening on December 8, 2021, the exhibition, titled Remember That Time, will present large-scale paintings by American artist Gunars Martinsons marking the official opening of Artefact.Berlin's new space in the heart of Berlin Schöneberg.

Gunars Martinsons – Remember That Time

December 8, 2021 – February 25, 2022

Opening Preview: December 8, 2021 | 6 – 8 PM

Gunars Martinsons, Remember Things Past, 2013. 152 x 152 cm. Courtesy of the artist.

December 6, 2021 (Berlin, Germany) – Marking the inauguration of its new space Artefact.Berlin, founded in 2021 by cultural entrepreneur and longstanding collector Anna Rosa Thomae, unveils Remember That Time, a solo presentation of paintings by American artist Gunars Martinsons. The first in a series of exhibitions dedicated to art and design, the exhibition is an autobiographical dive into the artist’s journey through life, from memories from his childhood to a more mature reflection on existence, nourished by his dense geometric vocabulary and the emotional ties thereof.

Opening on December 8, 2021, Artefact.Berlin is a new gallery and project space prefiguring itself as an extension and complement to Thomae’s already reputed international cultural communications agency A R T Communication + Brand Consultancy, established in 2014. Through a series of curated art and design exhibitions, the project is rooted in Thomae’s ongoing commitment to supporting, presenting, and promoting art, design, and architecture as intrinsically connected disciplines.

The name of the gallery itself, artefact, is the entry point into the vision behind it. Derived from the Latin terms arte, or with skill, and factum, thing made or object, it acts as bridge between two worlds: the craft and the object, the way of making and the tangible iteration – ultimately, the elemental bond between the art and the design.

The gallery’s philosophy is based on opening a dialogue, connecting the past and the future, the everyday object and the work of art, the architectural space and the space of living – enhancing one by virtue of the other – experimenting with and reinterpreting the gallery concept and the collecting experience. With a rich program of carefully selected exhibitions focusing on contemporary art and design, the new space stands as an important reference point for art and design collectors and enthusiasts worldwide.

Working at the crossroads of art and design, one particular, long-lived lesson has stood out to me – commonly, the notion of artefact is deeply tied to that of craft, and to a sense of past. Working with contemporary artists, architects and designers for over fifteen years, it struck me that craft is all but past, but in fact inherently contemporary.” – Anna Rosa Thomae

Gunars Martinsons, Youth With Turquoise Table, 1992. 70 x 100 cm. Courtesy of the artist.

Remember That Time, on view through February 25, 2022, is Hamburg-based American artist Gunars Martinsons’ first exhibition in Berlin – an extensive presentation of large-scale paintings that depict the artist's autobiographical, emotive and time-imbued journey through life, from the memories of his childhood to a more mature reflection on time, focusing on geometric compositions made of structural elements of architectural matrix.

At once figurative and abstract, the recurring motifs that compose his works call to a past time, most markedly that of the artist's childhood, observing his father at work. In fact,
the paintings are a tribute to Martinsons’ father, an architect whom he adored and admired, ultimately cultivating the artist’s own fascination with the discipline, and which can be traced in the structures that loom large in his imagery and rise in the colorful geometries of the glimpsed or imaginary buildings and constructions that inhabit his works.

Martinsons looks back to his paternal sources of inspiration:

As a child, I would spend hours nosing around in my father’s studio, looking at the rolls of blueprints spread on tables, unfolding what, to my young eyes, appeared as wonderful abstractions of lines, squiggles, and shapes of all sizes and forms. I loved sitting at the drafting tables, in those days with no computers and cad systems to do the drawings. In my work, I retreat to the eye of that child – to this magical world to play with and explore – rendering the many stories concealed behind these architectural lines, long perpetuated in my mind.”

The canvases stand as broad geometrical yet free flowing architectural expanses, inviting viewers to imagine the individuals that inhabit these constructions, to create the experiences that fill them, to tell the memories that inhabit them. A fitting reflection of Artefact.Berlin’s spirit, this first exhibition leads the way for a contemplation on past and future, on time as it nourishes both space and object – an homage to all things remembered and loved.

Rooted in the Schöneberg district’s distinct architectural heritage, Artefact.Berlin will continuously connect with local art and design professionals and general audiences alike through a dense program of multidisciplinary events, talks, and performances, once again fostering Berlin’s extensive and widely diverse cultural community and its visibility worldwide.

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NOTES TO EDITORS:
About Anna Rosa Thomae:

Growing up in Berlin in the 1990s, Anna Rosa Thomae spent her formative years living and working between New York, London, and Berlin. With a career of over fifteen years in the field of global cultural communications Thomae has ceaselessly nurtured the premise that valuable synergies exist between, and can emerge from, art, design and architecture – a vision that led her to establish her own consultancy, A R T in 2014 in Berlin. Ever since, Thomae has worked with creatives across all continents, ranging from gallerists, museums, and artists to designers, architects, and more.
A versed art and design collector, constantly shaped by her professional and personal encounters, Thomae has developed an extensive collection bringing together vintage European furniture from the 1960s—1980s in tandem with Modern, Post-War and Contemporary Art.
Established in 2021, Artefact.Berlin is the symbiosis between these two passions that continue to develop to this day.

About Gunars Martinsons:
Gunars Martinsons is a Hamburg-based American artist working in painting, prints, and photography. Born and raised in Madison, Wisconsin (United States) to European parents, he was exposed to arts and encouraged to cultivate his creative eye from a very young age.
A graduate in the Fine Arts from the University of Wisconsin-Madison, he moved to Europe – where he has lived ever since, and where he developed a career in advertising. A commercials director, he spent the past decades travelling internationally for his work, all-the-while pursuing his artistic practice.

Remember That Time, on view at Artefact.Berlin from December 8, 2021—February 25, 2022, is Martinsons’s first solo exhibition in Berlin.

Gunars Martinsons – Remember That Time

Artefact.Berlin | Geisbergstraße 12, 10777 Berlin, Germany

artefactgalleryberlin.com | @artefactgallery.berlin

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Afikaris Gallery Sways Visitors through The Imaginary Lands of Moroccan Artist Omar Mahfoudi's 'El Dorado'

Mahfoudi’s first major solo exhibition in France, El Dorado brings together the latest works from his sold-out Golden painting series, first unveiled last October at 1-54 London. On view from December 11, 2021— January 11, 2022, the dozen new works will be presented as a site-specific installation pursuing the nostalgic rêverie perceptible throughout his work.

December 11, 2021–January 11, 2022

Left. Omar Mahfoudi, Can’t Remember Anything at All, 2021. Acrylic and ink on canvas, 180 x 150 cm. Courtesy of AFIKARIS gallery. Right. Omar Mahfoudi, Nowhere to Rest With Nowhere to Land, 2021. Acrylic and ink on canvas, 120 x 180 cm. Courtesy of AFIKARIS gallery.

December 9, 2021 (Paris, France) – Marking the last of a series of exhibitions this year dedicated to the emerging African art scene, Paris-based AFIKARIS Gallery unveils rising Moroccan artist Omar Mahfoudi’s very first personal exhibition at the gallery and first major solo show in France. Echoing the gallery’s inaugural show Quitter la Ville (January 9—February 10, 2021), a dialogue between Mahfoudi and Cameroonian painter Moustapha Baidi Oumarou, El Dorado bears witness to the conceptual and thematic evolution in the Paris-based artist’s work. From December 11, 2021—January 11, 2022, the selection of a dozen unseen canvases from his acclaimed Golden Oasis series once again invites his viewers to immerse in his dreamy imaginary – a journey to nowhere, in search of utopia.

The legend of El Dorado has changed and morphed over time. That which once was a quest for a golden empire is now synonym to a search for a utopia – a metaphor for not only immense wealth, but also boundless love, thunderous success, a heaven that sits somewhere, eternally out of reach. The object of desire – this heaven forever out of reach – has never materialized; instead, the quest for it has inspired the legend. Whether manifested in the physical or spiritual world, or held within oneself, Omar Mahfoudi (b. 1981, Tangier, Morocco)’s work poses the question – what are you searching for?

Inspired by the cinematography of Andrei Tarkovsky and Werner Herzog, seeped in dreamlike visual imagery and preoccupied with nature and memory, Mahfoudi takes viewers on a journey through his, and their, El Dorado – a trip with no destination, through endless sprawling landscapes, horizons of Japan, South America, and his native Morocco.

Omar Mahfoudi, Waiting in Merzouga, 2021. Acrylic and ink on canvas, 185 x 172 cm. Courtesy of AFIKARIS gallery.

While the immersive installation specially conceived by the artist for the occasion – a two-meter barque set at the heart of the gallery space and filled with flowers – embarks visitors on the journey to this El Dorado, Waiting in Merzouga (2021) expands a mysterious and illusive landscape, emerging from the artist’s few signature golden strokes. Shades of gold are coated on the canvas as a sweeping driving force – or used as tactical touches. Alongside his metallic golds are loud bursts of color, like budding flowers, and motions mirroring the forms of water or sand.

The movement of the dunes, which could also be seen as a choppy sea if not for the lone wonderer in its depths – contrasts with the stillness of the human form. Is the figure lost? Is it a ghost? Is it truly depicted, or is it imagined? Through these few visual clues, Mahfoudi, who seemingly invites his viewers into his own rêverie, in fact rouses them to create their own narrative, a golden desert of their own, an echo to their very own stories and approach to the world.

A mystical ambiguity also surrounds these characters. Visually, one cannot gather race, ethnicity, nor gender, rendering them more akin to figures, sometimes shadows, than tangible individuals. Mahfoudi’s evasive somebodies appear captured on their own quests, their ceaseless Odysseys– languidly wandering the expanses of land and water on horseback, on boat, or on foot. The incertitude that weaves through his work recalls that of El Dorado, a known utopia, shared across centuries and cultures, yet one that exists without a specific geography, people, nor meaning.

As viewers see the characters, they are brought to ponder on the where’s, why’s, and if’s of their search. With no response to be found in Mahfoudi’s boundless horizons, one cannot but wonder whether these characters truly exist, or whether they are a pure creation of the mind, a reflection of oneself in a golden oasis.

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NOTES TO EDITORS:
About Omar Mahfoudi:

Omar Mahfoudi (b. 1981, Tangier, Morocco) is a multidisciplinary artist who works and lives in Paris. In his art, he reinvents and rewrites the history of human beings through emotions.

Mainly working with acrylic and ink, he plays with the movement of the matter created on the surface of the canvas. His oases, timeless territories bathed in a distant light and conducive to rêverie, are nourished and enriched by his eclectic influences: from the Amazônia series by photographer Sebastião Salgado, to the prints of Katsushika Hokusai. In his most recent work, the color gold, evocative to the desert of his Moroccan heritage, impregnates his imagery with heat and mystery.

Omar Mahfoudi’s work has been featured in numerous international fairs such as AKAA (Paris); 1-54 London (London); and ARCO (Madrid). El Dorado will be the artist’s first solo exhibition in a gallery in France.

About AFIKARIS Gallery, Paris:
Founded in 2018 by Florian Azzopardi, AFIKARIS Gallery started as an online platform and showroom specialized in the work of both emerging and established artists from African and its diaspora, before opening a dedicated Paris-based gallery space in 2021. Engaged in promoting cross cultural and disciplinary exchange, AFIKARIS acts as a platform for artists to engage with the wider public. A mirror onto and space for reflection on the contemporary African art scene, it provides artists with a space to address the topical local and international issues at the heart of their art.

AFIKARIS’s curated program includes group and solo exhibitions; art fairs; publications; as well as institutional partnerships.

Omar Mahfoudi, El Dorado | December 11, 2021—January 11, 2022 AFIKARIS Gallery
38 rue Quincampoix
75004 Paris, France

info@afikaris.com | www.afikaris.com

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The Nomadic Art Gallery Presents the Group Exhibition 'Nipple Twist', Pursuing its Exploration of the Contemporary New Zealand Art Scene in Dialogue with European Artists

Inaugurated in October 2021, the Leuven-based Nomadic Art Gallery unveils its second in situ exhibition as New Zealand artists Oliver Cain and Chloe Marsters and Belgium-based artists Merijn Verhelst, Amat Gueye, and Layla Saâd jointly explore, twist, and deconstruct the many, often controversial and at times conflicting, meanings that surround the nipple.

Nipple Twist | December 3, 2021 – January 14, 2022
Ocean Breeze | January 15—March 3, 2022

Left. Merijn Verhelst, Untitled 1, 2021. Acrylic on wooden construction, 60 x 82 x 3.75 cm. Courtesy of The Nomadic Art Gallery and the artist. Right. Oliver Cain, Yellow Pink, 2021. Ceramic and wooden frame, 40 x 45 cm. Courtesy of The Nomadic Art Gallery and the artist.

November 23, 2021 (Leuven, Belgium) – Following the successful opening of its first physical space in Leuven, Belgium, in October 2021, The Nomadic Art Gallery, the contemporary art gallery and public art and research project founded in 2020 by Gie and Arthur Buerms, pursues its exploration of the New Zealand contemporary art scene with its second on-site exhibition, Nipple Twist. From December 3, 2021—January 14, 2022, the group presentation places once again NZ artists in dialogue with their European peers, as Oliver Cain (b. 1996, United Kingdom) and Chloe Marsters (b. 1989, Auckland) in tandem with Merijn Verhelst (b. 1991, Leuven), Amat Gueye (b. 1995, Paris), and Layla Saâd (b. 1997, Liège) investigate the semantic and conceptual connotations behind this controversial body part.

Ushering in the gallery’s 2022 digital exhibitions program, dedicated exclusively to NZ’s contemporary scene, the much-anticipated Ocean Breeze, a showcase of lens-based artists Edith Amituanai, Sione Monu, Raymond Sagalopulutele, and Taute Vai will open on The Nomadic Art Gallery’s digital platform on January 15, 2022 – revisiting the groundbreaking 1994 Bottled Ocean exhibition which for the first time brought contemporary Pacific art onto the international stage.

Nipple Twist can be thought of as a two-part exhibition, where notions of gender and sexuality assume a sense of escapism as they meet in the many forms and meanings behind the nipple. Expanding across the gallery’s four distinct spaces, the five artists playfully embrace and revisit the silenced body feature’s manifold connotations, both materially and in the shared imaginary, bringing into question cultural customs and societal conventions.

Turning to the material, literal, understanding of the nipple, Oliver Cain, an English-New Zealand artist based in Auckland, sets the tone for the rest of the exhibition. The physicality of his subverted ceramic sculptures reflects that of the subject at hand, as he boldly appropriates and transforms its form. Cast in a plurality of shapes and sizes, the strangely frivolous nipples pop out of the seeming confines of their rectangular frames. Pointing to Cain’s curious post-pop art touch, the bright, contrasting colors of the 24 ceramic nipple-wooden framed sculptures place the nipple on the center stage as a newly found irreverence comes to replace the initial sense of eroticism.

Amat Gueye, Caverne Mystère, 2021. Ink on glossy paper on mounted wooden box, 152 x 107 x 4 cm. Courtesy of The Nomadic Art Gallery and the artist.

Auckland-based artist Chloe Marsters’s intricate drawings and prints push Cain’s questioning further. Absorbing viewers in the organic, sensual embrace of her female figures, Marsters sets forth a soft yet seductive nudity, one impressed in the flowing natural elements, stalks and beetles alike, that constitute and cover their skins. Surrounded by spikes and leaves, the works acquire an added, yet untouchable materiality – subtly suggestive, at once brazenly tempting and entirely fetishized.

Set in the lower floor under an evocative red light, Liège-based artist Layla Saâd’s sensuous photographs thrust the fetish onto the sanctified. Controversy transpires through her work, both in her choice of subjects, nameless women met at the margins of society, and in her partial representation of their bodies. Helplessly lured by these forms, viewers are forced to confront their own, senseless projections: those of a society that dictates a repudiation of the body, only to give it an all-the-more powerful appeal.

In sum, by plainly representing it, Cain, Marsters, and Saâd jointly twist the meaning of the nipple, laying it bare as a shifting social construct.

Delving into the work of these widely diverse artists, each distinctly twisting and pushing the constraints of his chosen medium, the notion of nipple twist, one seemingly hailing a very culturally specific meaning, takes on a markedly universal sense. The meaning of this western idiom comes to mirror that of the nipple itself – a shifting, sometimes contradictory one, rooted in societal constructs.” – Gie and Arthur Buerms

Left. Layla Saâd, Der Rum 2, 2018. Inkjet print on aluminum, 50 x 75 cm. Courtesy of The Nomadic Art Gallery and the artist. Right. Chloe Marsters, Lottia, 2021. Ink and marker on paper, 42 x 29.7 cm. Courtesy of The Nomadic Art Gallery and the artist.

Offering a conceptual reading of the term, Leuven- and Brussels-based artists Merijn Verhelst and Amat Gueye move from the representation to the interpretation of the culturally rooted term: their works are the nipple twist. Genital and scatological jokes fill Verhelst’s sculptural paintings, evoking an initial feeling of pointlessness. As the wooden works’ multiple layers gradually appear, as patches of black paint leak from the seemingly joyous colors, entry points into the artist’s singular world, nods to a childhood reality and secret imaginary, emerge, visually twisting viewers’ initial response.

In a similar vein, Gueye oscillates between methodology and happenstance. His deliberate choice of material and random subject matter comes to embody the volatile nature of contemporary culture. No distinct images stick on his wooden canvases. Instead, blurred forms mysteriously suggest the remnants of a shared, almost lost, visual language – barely perceptible hints to shared pop symbols, cartoons, and childhood memories. Faced by a hazed meaning, viewers latch on to these references, left to wander the border between the imagined and the real.

By giving voice to its endless physical, cultural, historical, and personal meanings, the exhibition strips the nipple from all and any set definition, thereby unsettling viewers into their very own nipple twist. Calling out the volatility of these meanings, the artists commonly engage against the stream of conservatism and censorship, hailing instead a newly found sense of semantic, and universal, freedom.

As this second part of The Nomadic Art Gallery’s New Zealand chapter continues to unfold – the result of Gie and Buerms’s one-year in situ immersion into the underrepresented NZ art scene investing a repurposed truck as a mobile gallery – the duo reflects:

By engaging with this subject matter, the artists lead viewers into a form of visual and semantic introspection which ultimately liberates them from these constructs. In doing so, regardless of their background, whether from Europe or from New Zealand, they aptly point to obsolete sociocultural norms, tinged with conservatism and censorship, which they deconstruct together.”

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NOTES TO EDITORS:
About The Nomadic Art Gallery, Leuven, Belgium:
Founded in 2020 by Arthur Buerms and long-time partner Gie, The Nomadic Art Gallery is a contemporary art gallery and public art and research project currently based in Leuven, Belgium.

Building on a cyclical model rooted in the notion of nomadism, the initiative unfolds through two alternating phases. The first is an in-situ immersion within an underrepresented art scene, during which Arthur and Gie invest a mobile vehicle to conduct research in the given location, the latter ultimately becoming a public art project.

The second phase is set in a transitional gallery space – a temporary location in Europe which changes with each showcased art scene and where the duo initiates a dialogue between their research and the European contemporary art scene, through a program of both physical and online exhibitions.

Nipple Twist, group exhibition of Oliver Cain, Chloe Marsters, Merijn Verhelst, Amat Gueye, and Layla Saâd | December 3, 2021—January 14, 2022
The Nomadic Art Gallery
Brusselsesteenweg 168
3020 Herent [near Leuven], Belgium

Ocean Breeze, group exhibition of Edith Amituanai, Sione Monu, Raymond Sagalopulutele, and Taute Vai | January 15—March 3, 2022 [Digital Exhibition]

www.thenomadicartgallery.com
nomads@thenomadicartgallery.com
Instagram | @thenomadicgallery7
Facebook | @TheNomadicArtGallery

About Oliver Cain:
Oliver Cain (b. 1996, United Kingdom) is an English-born New Zealand-based artist whose work develops and covers a wide range of topics using various materials. His artworks, subverted linguistic paintings, ceramic sculptures, and installations, bear a certain physicality, and push the boundaries between conceptualism and post-pop art.

Cain’s creative process is a key element in his practice, resulting in works that can take any form and consistence. Throughout his work, appropriated everyday objects transform stereotypes and famous art historical references are twisted. A proud member of the queer community, Cain uses his work to examine, question, and criticize the relationships between gender, (homo)sexuality and societies’ misconceptions surrounding these themes. However, and despite initial appearances, a purely erotic and queer reading of his work is often misguided as a universal profundity is always at play, revealing itself gradually to those willing to look and feel.

Oliver Cain won the Eden Arts Award in 2019 and was a finalist in the Wallace Arts Awards and NZ Contemporary Art Awards (2020/2021). Recent exhibitions include the International Ceramic Biennale of Talavera (Spain); Pātaka Art+Museum (WAA, New Zealand); Copelouzos Family Art Museum as part of the COV—ART Project (Greece); the ART MATTERS 3 online group show at Galerie Biesenbach (Germany); the It’s a Boy solo show featuring Billy Apple at Föenander Galleries (New Zealand); and Paint etc. at the Corban Estate Arts Centre (New Zealand).

About Chloe Marsters:
Chloe Marsters (b. 1989, Auckland) is an Auckland-based artist of Cook Island descent. Laureate as a teenager of the Parklane Wallace Trust Development Award as part of the prestigious Wallace Trust Art Awards in 2009, she gained critical success early on in her artistic career.

Marsters is known for her intricate and meticulous drawings and prints referencing both the human form and nature. Her tailored silhouettes, made of flowing natural elements, combine the elegant aesthetics of fashion with the punk-rock attitude that tints much of her practice.

Recent exhibitions include a pop-up group exhibition at Barrel Store Colony (New Zealand).

About Merijn Verhelst:
Merijn Verhelst (b. 1991, Leuven) is a self-taught Belgian artist currently based in Brussels. His work is deceivingly simple, at once playful and naïvely melancholic, sometimes scatological yet very much layered in sophistication. Distinct throughout his overwhelming, obtrusive sculptural paintings, his tone is at once oddly humorous and emotionally charged.

Verhelst intuitively conceives optically dazzling works, until all the separate pieces of wood, marks, lines, and forms unite into a singular world. This non-representational universe ultimately initiates a dialogue between the abundance of neon colors and formalist aesthetic, all-the-while acting as an entry point into his child imagination – a childhood freezer filled with popsicles alongside hints of secret passageways. Combining a sense of craftsmanship with select flattened brushstrokes, his X-ray, precise abstract language is a subtle combination of elements of pop art and minimalism.

Recent exhibitions include the Art strEAT solo exhibition (2019) and m0(ve)ment group show (2017) as part of Life of L (Belgium).

About Amat Gueye:
Amat Gueye (b. 1995, Paris) is a French/Senegalese artist and recent graduate of the Ecole nationale supérieure des arts visuels de La Cambre (Belgium).

Alternating between traditional and unconventional modes of painting, Gueye skillfully uses a unique technique through which he applies ink on glossy paper to create depth and optical illusions. Gueye combines figurative and abstract elements, in works that echo diversity, noise, abundance, and blurred uncertainty. Through his intense dynamics and color palette, he conceives works whose visual markers are symptomatic of a time where the flow of (digital) images is constant, extensive, and fast.

His deliberate choice of material, random subject matter, and happy accidents affecting the works create an individual and nuanced combination, echoing a shared yet impalpable contemporary visual culture. Gueye’s artistic spirit embodies a form of 1990s nostalgia and escapism, one filled with references to cartoons, video games, myths, fantasy, pulsating techno, and pinball machines.

A mélange of unseen amalgams and abstracted objects populate his wooden canvases, conceptually exploring dichotomies between the real and the digital, the natural and the artificial. Gazing through his work, one starts to wonder how much of human technology is in fact informed by nature.

Gueye has participated in several group shows in galleries and artist-run spaces in Brussels, including Rochet Sedin Gallery; Espace Adventura; and Hermany.

About Layla Saâd:
Layla Saâd (b. 1997, Liège) is a Liège-based artist and photographer. A graduate of the Photography module from the Ecole Supérieure des Arts Saint-Luc Liège (2020), Saâd won that same year the Prix Roger de Conynck awarded by the King Baudouin Foundation. In 2021, Saâd participated in the Biennale de Photographie en Condroz (Belgium) and was selected for a promising mentoring program at Agence VU (Paris), which she is currently undertaking.

With a freedom of style and technique, the young photographer explores the life of alternative worlds created on the fringes of society or in reaction to its normalized principles.

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