Short presentations by the artists
is a wanderer and conceptual multidisciplinary artist, living currently in Vienna. In her art based research projects, she uses concepts of psychogeography (the study of the laws and specifics effects of the geographical environment on the emotions and behavior of individuals) to explore our relationship to inner and domestic spaces. Principles of 'colour and light therapy' often underline the interactive nature of her installations.
With a characteristic economy of means (her work often builds on the recurrence of mundane objects, such as ropes, post-it notes or sheets of copier paper), Boukhari creates sensorial and participatory installations which engage the body as well as the mind. Despite the focus on the body and space, language is playing an essential role in her work, and drawing the audience into complicity with it. Like the body, language is both personal and the basic prevalence of public relations.
In the last five years, Boukhari is working in her art based research project on the idea of “the Mind Wanders” where she created the term “Wanderism” and announced it as “State of mind”.
Nisrine Boukhari (b. 1980) studied Sculpture in the faculty of fine arts in Damascus university , finished her M.A. in social design at Angewandte Kunst WIen (university of applied arts Vienna) where she is also continuing her PhD since September 2014. She is pursuing her art based sociopolitical research internationally where she had artist residency in MAWA mentoring artists women's art Winnipeg/Canada, NKDALE art center Norway, Art Omi in NYC, and many other residencies also. She exhibited her work internationally and locally (AllArtNow festival for Contemporary arts, Traces, Magnetism, Here I Stand). In 2008, she participated in one of Triangle workshop (Shatana) Jordan, in Amsterdam Biennial in 2009 and got the honorable award in Asian Art Biennale of Bangladesh. Beside her artistic career Boukhari is a co-founder for AllArtNow the first and only independent contemporary art organisation in Damascus.
Her work has been selected for exhibitions like young and radical, React Feminism, Arab Short Film and sanctioned array.
Please find out more about Nisrine Boukhari work on the link below:
Hasan Cenk Dereli
(b. 1983 in Izmir, Turkey, lives and works in Istanbul and Izmir, Turkey). Hasan Cenk Dereli is a PhD candidate in Architecture (Istanbul Technical University), who works with urban politics and proactive design ideas. His personal creative productions define a practice that spans radio production, music, design research and event organisation.
He is the local host of the international event PechaKucha Night in Izmir, Turkey, where he attempts to bring innovative people of the city together to build a creative network.
With other collaborators, he has initiated an event called Rendezvous, a festival-like active platform for designers which involves fashion, design and music.
As a part of his research-lead design practice, he organises workshops entitled Tasarım Maratonu (Design Marathon) for students from different fields of design. During these 24-hour-long nonstop sessions of collaborative production, participants imagine real problems of the future and produce manipulative images.
He is the founder of the video art gallery 37 which provides opportunities for screenings and artists talks for local and international video artists.
He is also one of the members and project coordinators of a pro bono architecture practice, Herkes İçin Mimarlık Derneği (Architecture For All Association),
and founder and manager of his own design practice, NOBON,
. He is one of the creators behind the KONTRAAKT experiment, which is an independent medium for design and architecture broadcasting that started as an experiment at the 2nd Istanbul Design Biennial.
is an artist, born in Belgrade (Yugoslavia). Dražić also initiated and curated collaborative projects and exhibitions.
Her artistic fields are installation and performance with an accent on (their) impermanency. The issues that Dražić explores within her art practice deal with the ambivalent interrelationship of the citizen and the city, their mutual support and protectiveness, but also their isolation and destruction. Dražić searches for spaces of irregularity, difference, flexibility, intuition and focuses on abandoned, forgotten places in the urban structure of modern cities. Dražić explores their transformation and rethinks them at the level of cultural continuity, symbolic irregularities and individual actions.
Dražić perceives the city as an archeological site, where one can find artifacts, architecture, bio-facts and cultural landscapes. She looks for, works with and collects traces that show how culture is constantly being negotiated, redefined and transformed. Dražić also works with the borders and margins of public and private space. She believes that both are constantly (re)created, that they do not exist as fixed parameters, but rather are in a constant flux.
Dražić exhibited works internationally in solo and group exhibitions and was a resident at ISCP (NYC), KulturKontakt (Vienna), TimeLab (Ghent) and Tobacna 001 - The Museums and Galleries of the city of Ljubljana, Slovenia
Nothing in this world can last forever, everything is changeable and fleeting. The sense of pain lurks in every lovely thing. It is not easy to understand even ourselves and we struggle in ambiguity.
While walking from nowhere to nowhere, it always gives me energy and relief to meet with something new and nostalgic at the same time. It can be a landscape, ruins and old weathered buildings or a work of art. Through my art, I aim to create a space in which viewers experience this feeling-encountering something in between memory, afterimage, the unknown and the future.
I often work with fragments of smashed glass. For me glass is a multi-faceted material; it is sharp and fragile, beautiful and painful, hot and cold during the process. It shows different reflections and shadows depending on the light.
In recent years, I have worked a lot on projects involving women's clothes such as dresses, shoes and lingerie made of sheets of fragmented glass. What we choose to wear tells a lot about ourselves, our situation and our attitude towards life. Creating those works using glass which has both strength and fragility is like contemplating the paradoxes and struggle in ourselves.
Besides those sculptures, I also work with abstract installations using transparent material to create a space which is affected by changes of light, reflection and shadow. Basically I see the world as changeable and unstable and characteristics of those materials, showing different aspects and effects depending on light, lend themselves well to work within these themes.
(b. 1985, Sundsvall, lives and works in Stockholm).
As a drawer, I am sensitive to the meaning of small gestures, precise in my execution and concerned about the poetic dimensions. My ambition is to unify drawing, object and language, both interdisciplinary and spatially, and observe how the overlapping that arises gives and takes, both materially and conceptually. For me drawing is a way to tangibly approach unknowable or distant phenomena, where, by being fully concentrated, I can bring to attention small details and allow symbolic additions to transform a preconceived interpretation. I often return to geological and surgical observations, photographs and descriptions. Likewise, I have an ongoing relationship with the moon and a preoccupation with cancer, volcanic ash and detailed studies of specific subjects. I think that my work is at its best when it is simultaneously intensely intimate and spatially anchored. An excitingly dry meeting between concept, materiality, three-dimensionality, visuality, symbolism and poetry, in which drawing, text and object are combined and treated beyond ingrained forms and hierarchies. It is about precision: to respond to the world through thought, gaze and hand gestures.
Cecilia Hultman was educated at Konstfack, University College of Arts, Craft and Design in Stockholm, (BFA and MFA) in 2008–2014. She has exhibited at, among others, Galleri Box (Gothenburg), Bror Hjorths Hus (Uppsala), GIG Green is Gold (Copenhagen), Sjögatan Sju (Sundsvall), Trailer Gallery (Umeå), Cornelia Sojdelius Gallery, (Stockholm, via Galleri 1:10) and Galleri Blunk (Trondheim). In 2012 she was awarded the Bror Hjorth Drawing Grant. She has also participated in Artist-in-Residency programmes at DNK, Dale Nordisk Kunstnarsenter, Norway and at Skaftfell – Center for Visual Art, East Iceland.
is an artist, curator, and publisher based in San Francisco, CA. He attended the Columbus College of Art and Design in Columbus, OH, the Studio Art Center International in Florence, Italy, and the Curatorial Practice Program at the California College of the Arts in San Francisco, CA. Through exhibitions, objects, and public events Kasprzak creates scenarios that explore the borders of fiction, reality, and memory. He has curated exhibitions and exhibited artwork in both national and international venues, including: The Watts Institute for Contemporary Arts in San Francisco, Objectif Exhibitions in Antwerp, Belgium, the Lithuanian Pavilion at the 55th Venice Biennale, and most recently the Berkeley Art Museum.
He is onethird of Will Brown, a collaborative group who’s main objective is to manipulate the structures of exhibition-making as a critical practice, and a partner in Colpa Press, an artist book publisher and design collaborative.
In approach as much as in the resulting aesthetics, the practice of Jenny Lindblom reflects an interest in contemporary image culture. Her works are equally influenced by the filtered realities in the canon of Instagram, as by the aestheticized ones framed in art history. She allows visual motifs of commercial and non-commercial sources merge, and timely references suggest eternal questions. In her work the serious and existential is never far from banal humour. Primarily using the media of painting and sculpture, Lindblom observes the images that surround us: how they affect our perceptions, habits and ideals, how we express and expose ourselves in the economy of likes and attention that has made “personal branding” and “impression management” strategies relevant in increasingly private spheres.
While at Iaspis, Lindblom will continue to work on the series “Very peasant [sic!] stay” (2013–). The title originates from a spelling mistake found on the travel review website TripAdvisor and connects with the issues of class addressed throughout the series. Departing from images of travels as well as the travelling of images, the focus is on our worldly and spiritual needs; the social and the private; success and failure; self-fulfilment and frustration.
Born in 1981 in Eskilstuna (SE), Jenny Lindblom studied at the Gerrit Rietveld Academie and the Sandberg Instituut in Amsterdam. She has recently completed residencies and solo exhibitions at Künstlerhaus Bethanien (DE) and CCA Andratx (ES). She has also held solo exhibitions at Galerie van Gelder (NL) and Eskilstuna konstmuseum (SE), and been included in group exhibitions at Bonniers konsthall (SE), Museum SCHUNCK (NL) and Jan van Eyck akademie (NL). This year she was awarded the High Coast grant (SE), and in 2010 she received the Royal Dutch painting prize, Koninklijke prijs voor vrije schilderkunst.
I see the main possibility of my role as an artist as a way in which I can invent and swap roles. By entering into various roles I can devise a space for freedom of action, which allows me to be both Myself and Something Else.
Employing techniques such as text, music, textiles, object, performance, theatre, publications, video, I frequently explore issues of community and the creation of meaning in my works.