January 7, 2014
Karina Smigla-Bobinski lives and works as a freelance artist in Munich and Berlin in Germany. She studied painting and visual communication at the Academy of Fine Arts in Krakow, Poland and Munich, Germany. She works as an intermedia artist with analog and digital media. She produces and collaborates on projects ranging from interactive and mixed reality art in form of installations, objects, in-situ&online-art-projects, art interventions and multimedia physical theater performances, to digital and traditional painting, analog interactive installations or kinetic sculptures. Since 2013 she is member of The Dream Team of artists, architects and designers by the DiBari Innovation Design Associates & Partners Studio. She is also an lecturer in the Department of Art and Design at the University of Applied Sciences in Augsburg (Germany).
Her works has been shown in 36 countries on 5 continents at festivals, galleries and museums internationally, including GARAGE Center for Contemporary Culture in Moscow (Russia), ZERO1 Biennial in Silicon Valley (US), FILE Electronic Language International Festival in São Paulo and Rio de Janeiro (Brazil), FACT in Liverpool (UK), Busan Biennale (South Korea), GAK – Gesellschaft für Aktuelle Kunst in Bremen (Germany), Bangkok University Gallery (Thailand).
Her collaborative performances has been shown at the Festival Montpellier (France), Festival in Ramallah (Palestine), Grand Théâtre (Luxembourg), Fundação Calouste Gulbenkian Lisbon (Portugal), Festival in Kabul (Afghanistan), GoDown Art Center Nairobi (Kenya), National School of Drama in Delhi (India), Festival Caracas (Venezuela), Fadjr-Festival in Tehran (Iran), Art Festival (South Korea), Haus der Kunst in Munich (Germany), Teatro Sesc in São Paulo (Brazil), Biennale de la danse in Paris (Frankreich), Berliner Festspiele (Germany) and Biennale di Venezia – Arsenale, Venice (Italy).
December 22, 2013
Steven Laxton is an Australian-born artist whose work has been published in a wide range of news and lifestyle media, arrived in New York via London in 2002. By 2008, he was named one of the 15 Rising Stars of International Photography by American Photo Magazine and in 2009 Communication Arts recognized him as a “Fresh” artist. ’Human & Urban Forms,’ turns the classic nude portrait on its head, usually literally. Laxton’s subjects, professional dancers, assume a series of intertwined and contorted shapes, turning flesh into form. The dancers’ heads are always obscured and the shade of skin and the sinuous muscle become the material of what Laxton calls “human sculpture.”
In addition to the Arnold Newman prize, Laxton’s El Circo project was awarded in the 2012 POYi (Picture of the Year International) Feature Story category and was included in the prestigious 2012 PDN photo Annual. In September, El Salvador’s national Museum of Art will feature a major solo exhibit of Steven’s Circo project, which will then tour nationally. Steven Laxton’s portrait and urban landscape work can be viewed at www.stevenlaxton.com.
December 1, 2013
Ruth Asawa is an American artist, who is nationally recognized for her wire sculpture, public commissions, and her activism in education and the arts. In San Francisco, she has been called the “fountain lady” because so many of her fountains are on public view. In this website, you can learn about her life, her work, and her development as an artist.
When Ruth was 16, she and her family were interned along with 120,000 other people of Japanese ancestry who lived along the West Coast of the United States. For many, the upheaval of losing everything, most importantly their right to freedom and a private, family life, caused irreparable harm. For Ruth, the internment was the first step on a journey to a world of art that profoundly changed who she was and what she thought was possible in life. In 1994, when she was 68 years old, she reflected on the experience: “I hold no hostilities for what happened; I blame no one. Sometimes good comes through adversity. I would not be who I am today had it not been for the Internment, and I like who I am.”
Ruth Asawa died peacefully on August 6, 2013.
July 2, 2013
Measuring the Universe is an installation art by Slovakian artist Roman Ondák first installed in the Museum of Modern Art in New York City in 2007. It was a white room filled with thousands of what at first seemed to be thousands of sharp black lines. It almost resembled a swarm of bees zooming around the museum, going around and around one small room in the contemporary galleries. Upon closer inspection, one realizes that each seemingly random line marked various museum visitors’ heights. Accompanying the small black lines was text stating the name of the person and the date they were measured. The effect is incredible; most of the lines are near each other, so it seems like a giant black mass, with nearly purely white space on the bottom and top of the wall.
Ondák, like performance artists, attempts to transcend traditional divisions between piece and spectator, between viewing something and being a part of its creation. He makes art interactive, bringing together both the artistic cognescenti and plain, everyday steel workers. He allows everyone to have some sort of artistic record of themselves, from the highest of critics to tourists from Omaha who just wanted to visit a famous New York City museum, and ended up being a part of a fascinating work of art. Ondák brings together total strangers in his work. He gives what could be interpreted by many people as cold and impenetrable pieces of conceptual “art” a warm, friendly feeling. He allows everyone to have a little piece of high art. Conceptual art is often perceived as something pretentious and inaccessible, but Ondák gives anyone and everyone the chance to literally be recorded in a museum. ‘ ‘Measuring the Universe’ ‘ also possesses domestic qualities. In thousands of households, one can find a spot in the kitchen or living room or basement in which children’s heights are measured with a simple ruler and black marker, records of life and growing up. Ondák’s installation allows complete strangers to come together in an intimate way. By bringing an action normally confined to private corners of people’s homes to something as large and anonymous as a museum, he ties strangers together. They perform a somewhat intimate, comforting act together, bringing not only black lines to a white space, but a record of who they were and when they came together. He fills a plain space not with meaningless symbols or lines, but records of real, actual people who appreciated his work.
Since the early 1990s, in a complex oeuvre Ondák has been engaging with the heritage of Conceptualism and Minimalism, drawing on both global influences and references specific to the region of Central and Eastern Europe.
Roman Ondák was born in Žilina, Slovakia in 1966. He lives and works in Bratislava.