Katrin Fridriks (b.1974, Iceland/Germany/France) - Crayons / Code DNAnd Munitions
Born in Reykjavik, Iceland, urban iconoclast Katrin Fridriks has lived in Luxembourg, Germany and the US and currently works from her studio in Paris, producing large-scale works for an eclectic International roster of collectors and curators. Through her hyperkinetic abstract paintings, Fridriks fuses the natural energies of her native Iceland – fire, water, earth and air – with contemporary pop art, graffiti and calligraphic references to create a unique visual universe. Her passion for architecture inspired her to create conceptual installations still using canvas and paint. Beyond her resolutely modern pictorial expression, Katrin Fridriks is continuing her research into matter and colour with the avowed intent to place technique at the service of artistic expression.
Agathe de Bailliencourt (b.1974, France/Germany)
Oh Mon Dieu!. Realized with Skudi Optix for the “Paint My House” project, projection of a drawing on the Berliner Dom in Berlin (2008)
Light Installation. Realized with Skudi Optix for the Festival of Lights in Berlin, Projection of a drawing on the IHZ-Building near Friedrichstrasse (2007)
Agathe de Bailliencourt is a painter, born in 1974 in Paris and currently based in Berlin. She works on canvas and paper, as well as in public space and architecture. Although her drawings and paintings are rather abstract, her work is characterized by a more or less aggressive pressure to be as tangible as possible. Agathe de Bailliencourt is interested in the act of painting within a concrete context.
On canvas and paper, she is concerned with the creative process of attaining a certain kind of depth. Here, Agathe de Bailliencourt speaks about her personal experience, her own freedom and its constraints, in a direct and spontaneous way. she attempts to show a total sincerity of the self, which also includes incidence and failure. Regarding the installations, Agathe de Bailliencourt develops her work directly within the perspectives of the urban landscape, within the everyday reality of people. The installations do not follow a precast plan but emerge in the actual occupation of the space when she starts working. Although the starting points are different, artist’s motivation and ways of researching are the same inside or outside the studio. Primarily, she is interested in personal freedom and liberation. Therefore, the integral elements of her work are figures of contradiction and repetition, patterns of continuous, countless, irrepressible approach.
Jean-Baptiste Courtier is a young photographer working and living in Paris. Originally from North of France, he arrived in Paris searching for something, but without any precise idea. After working in radio stations and sound studios, it was when he started working in a model agency that his interest for photography was born. Courtier’s work corresponds to something fun that he dreams to see in real life. He shoot his pictures in a traditional way with a large format camera, 4x5 films. His photographs aim to capture something he has done in the real life and represent a personal challenge, like a performance or a magic tric. Courtier wishes to express through his work some kind of poetry: “Frankly, I’m quite égoistic in the way I work. I want to have the pleasure of recreating the images that exist in my mind and prefer to let the viewers to create his/her own story around the picture.” Please visit artist’s website or follow his Tumblr for more discoveries. (Interview with artist by Artchipel Mar-2013)
[more Jean-Baptiste Courtier]
Kim Joon (b.1966, Korea) - Blue jean blues (2012)
The world is wide. And it is very deep. We don’t know much about the world, although are living in it. While living in the world, more precisely speaking, we hide it which includes our body and soul. However this concealed world is never hidden. Artists, moreover visual artists, don’t reveal the world which comes into their own sight. Rather, they open their sight wide to the concealed world and will always attempt to call this world in their own view. We are right to say the following. When we see the artist’s activity, catch the world. In other words, it comes into our sight. Artists are not to catch the world’s character, but ties up the world itself to their sight. It would be nice to call behaviors of such artists “awakening”. This “Awakening” is none other than arts and works. Also it is organizing the relationship between appreciators and artists. In Kim Joon’s “Blue Jean Blues”, this “Awakening” deepened little more than his previous works. (cf. Blue Jean Blues - The Concealed and Revealing World by Lee Sop) Many thanks to showslow for this Tumblr Monday to share with us Kim Joon’s fantastic sculpture & installation!
Ryoji Ikeda’s background is in music, which he attributes to his time spent DJing in Tokyo while in his twenties, before further utilizing sound in artistic context. Having developed an extensive discography since the early nineties, Ikeda’s compositions are concerned with the absolute ends of sound spectra. Syncopating pulses of sound in unstructured phrases, modulating and distorting tones to both ends of the capacity of human hearing.
Ikeda’s increasingly complex installations follow similar criteria to which his compositions adhere. Construing data from im/possibly large computer-generated numbers, his quandaries of mathematical absolution and astronomical measures translate to high-contrast light-based works of art projected on constructed surfaces. Numbers in volume become forms of their own, blocks of white and black fracture and pulsate synchronously to Ikeda’s thoroughly processed musical compositions. Ikeda often pairs live performances with his installations.
What is revealed through the all-or-none aesthetic approach used in Ikeda’s multi-faceted retrospective is similar to a half-tone print. Being subjugated to such visual and musical extremity, the mind starts filling in gaps, creating the illusion of tonality and structure as the point of observation is shifted.
collaboration with photographer Boris Bendikov
“Private Moon” is a visual poem telling the story of a man who met the Moon and stayed with her for the rest of his life. Crossing the borderline between the two worlds across a narrow bridge, immersed in a dream and taking care of this heavenly creature, the man became a mythological being living in a real world as in a fairytale. Each photograph is a poetic tale, a little poem in its own right. Therefore each picture is accompanied by my own verse, which I wrote when I drew my sketches for the photographs. So it turns out that the Moon overcomes our loneliness in the universe uniting many of us around it. - Leonid Tishkov
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“The hovering sculptures featured in this ongoing series of photographs are inspired by self-organizing, “emergent” systems in nature such as termite mounds, swarming locusts, schooling fish and flocking birds. The images attempts to tap into the fear and fascination that those phenomena tend to evoke, while creating an uneasy interplay between the natural and the manufactured and the real and the imaginary. At the same time, each image is an experiment in juxtaposition. By constructing the pieces from unexpected materials and placing them in environments where they seem least to belong, I aim to tweak the margins of our visual vocabulary, and to invite fresh interpretations of everyday things.
I have struggled with the role of Photoshop in my work. I can’t make my images without it, yet I don’t really want it to be an integral part of my creative process. So I’ve set up some rules of the road for myself, and I’ve stuck to them while creating all my recent images. Basically I want the images to be as “in camera” as possible, so instead of employing PS to composite or more things around, I simply use it to remove elements I don’t want to be there. The sculpture[s] in th[ese] image[s] [are] real and w[ere] photographed. I simply used PS to remove the support that was holding the thing up, and to make a few other minor tweaks. So on the spectrum between “retouched image” and “real time image”, I’ve strived to make it closer to the latter.” - Thomas Jackson
Carrie M. Becker (b.1978, USA)
Encroaching Eggs, Carrie M. Becker. Plexiglass, tissue, wire and varnish juxtaposed with a bedroom in an abandoned home (2011)
Sleeping Seedpods, Carrie M. Becker. Cotton batting juxtaposed with a bedroom in an abandoned house (2011)
In a career spanning nearly 40 years, Antony Gormley has made sculpture that explores the relation of the human body to space at large, explicitly in large-scale installations like Another Place, Domain Field and Inside Australia and implicitly in works such as Clearing, Breathing Room and Blind Light, where the work becomes a frame through which the viewer becomes the viewed. By using his own existence as a test ground, Gormley’s work transforms a site of subjective experience into one of collective projection. Increasingly, the artist has taken his practice beyond the gallery, engaging the public in active participation, as in Clay and the Collective Body (Helsinki) and the acclaimed One & Other commission in London’s Trafalgar Square. (cf.artist’s bio) Great thanks to myampgoesto11 for sharing with us one of her contemporary favorite artists Gormley (*)!