Ricardo Càstro researches the qualities, both formal and mystical, of chromatic elements to carry out interventions that has the potential of transforming architectural, urban and social spaces. In general they are hybrid works, open to public participation. His artistic actions have been brought together under the term “abravana”, a term that resonates as a vocal key endowed with vibration, intensifying the body / work relationship to shed light on a dimension corresponding to an infinite level of perception.
Renato Maretti’s projects feed off the everyday observation of his environment and off decontextualizing the components of this mundane reality. He often resorts to games that imitate reality, copying the appearance of objects that we use daily and misusing them, turning them fictitious. Drawings, stickers, ready-made and found objects on the other hand bring him closer to a language typical of street art, with a particular focus on the policies governing the physical control of the body in the urban space.
Felippe Moraes (1988) is an artist, researcher and independent curator. He is currently a PhD candidate at Universidade de Coimbra in Portugal and holds a distinction MA Fine Art from The University of Northampton having been granted the Santander University Scholarship between 2011 and 2013.
In 2016 he earned the first place in the Brazilian National Award ArteMonumento 2016, which led to the construction of the permanent public sculpture “Monument to the Horizon” at Caminho Niemeyer in Niterói.
Major solo exhibitions: “Progressão” (2016) curated by Michelle Sommer at MAC-Niterói; “The Elements” (2016) curated by Alexandre Sá at Centro Hélio Oiticica in Rio de Janeiro; “Ordem” (2014) at Baró Galeria in São Paulo; “Matter” (2012) with text by Raphael Fonseca at MK Gallery, UK; and “Construção” (2011) at Paço das Artes in São Paulo with texts by Fernanda Lopes.
Group exhibitions (selection): “Coisas sem Nome” (2015) at Instituto Tomie Ohtake in São Paulo; “Escala Humana” at EAC Montevideo; “Repentista #1” at Nosco Gallery in London; Frestas Triennial (2014) at SESC Sorocaba curated by Josué Mattos; “City as a Process” (2012), the 2nd Ural Biennial in Russia; “The Infinity Show” (2013) at Northampton Contemporary Art Gallery, UK; and “Mutatis Mutandis” (2013) curated by Bernardo de Sousa and Bruna Fetter. In 2014 he was one of the finalists of the EDP nas Artes Awards at Instituto Tomie Ohtake.
As a curator and researcher Moraes has worked on various fronts: in 2013 he created LargoLAB, a project development platform for artists in residence at DESPINA | Largo das Artes in Rio de Janeiro. In 2016 he was the curator of the exhibition “Invisible Cities” at the same institution and established the project HARP (Humanitarian Art Research Platform) mentoring the visual research performed by refugee artists from Syria, Congo and Colombia.
Be it sculpture made of living materials, photography, drawing or installation, Liana Nigri’s work is mostly inspired by elements of nature versus the idea of time passage – and therefore, the notion of impermanence. In that sense, her research consists in observing the changes on the surface of plants or/and human skin in the course of their subsequent life cycle. Through this process her work invites the audience to take a closer look at life from the perspective of decay that reveals beauty where never imagined before.
Liana Nigri is a visual artist deeply interested in Bio Art. She has a Master’s degree in Textile Futures at Central Saint Martins, London. After living in New York for four years, in 2016 Liana decided to return to her hometown, Rio de Janeiro, to continue her work through the art residency Despina, which is known by its wide network of curators who help residents to think and rethink their projects. Yet it was the art residency at SVA - BioArt from Laboratory to the Studio in 2015 that prompted her ongoing work on AfterLife concept.
Patricia Francisco lives and works in Rio de Janeiro. She is a PhD candidate in Arts at Rio de Janeiro University and holds a Master's degree from Sao Paolo University. Including film, video, photography, drawing and performance, her practice focuses on hybrid forms and experiment that examine the intersections between analogue and digital media, as well as non-linear narratives created through film editing tehniques. Her work has been exhibited in Argentina, Colombia, Spain, America, France, Italy, Peru, Malaysia and Brazil. She is represented by the Mammoth Gallery Rio de Janeiro.
Gabriela Gusmão lives and works in Rio de Janeiro. She is interested in the relationship between nature, urban space and temporality, which she explores through video, photography, sculpture, drawing, artist books, performance and interventions in public space. She exhibited solo at The Museum of Modern Art in Rio de Janeiro and Platforma Revólver para a Arte Contemporânea in Lisabona, and also took part in diverse group exhibitions in Brussels, Berlin, São Paulo, New York and Paris. In 2016, the artist was commissioned by the 2016 Art Monument Brazil to create the monumental sculpture "Nova Chama" ("New Flame") in Nova Friburgo, in the mountain region of Rio de Janeiro.
Lochan Upadhyay looks at himself as a wanderer, working in different mediums to explore his fascination for everyday objects and images that represents the socio-cultural politics of a place. Working with a nomadic aesthetics he primarily works with formats such as installations, sculptures and public art projects shaped by instances of human consumption, excess and disregard.
His works have been exhibited at Tel Aviv Museum of Contemporary Art(Israel), Art Plural Gallery (Singapore), Gallery Albert Benamou (Paris), Tamrind Arts Council (New York), Pundole Art Gallery (Mumbai) etc. He has also participated in reputed international residencies like Kunstverein Bellevue-Saal, Wiesbaden, Germany (2013), Extrapool + Sandarbh, Nijmegen, Netherlands (2011), Abiko International artists residency, Japan (2011), YATOO International Residency, South Korea (2011) and Bangalore Artist Centre, Bangalore, India (2009).
One of his projects Power of Cloth was selected for Public Art Award by Foundation for Indian Contemporary Art in 2008 and was shortlisted by International Award for Public Art. He is also working as a coordinating artist for Sandarbh Artist residency program, India since 2003.
Lochan did his graduation (BFA, 2005) and post graduation (MFA, 2009) in Painting from MSU, Baroda, India. He currently lives and works between Baroda and Partapur.
[en] No translate
Shilpa Rangnekar is an Indian conceptual artist working with a multidisciplinary approach for socially engaged art and research practices. She is particularly interested in observations of everyday life and associated behaviors, which either comes out in the form of utilitarian Art, food performances or very expressive and engaging community oriented projects.
Since 2010, Shilpa has been working as a coordinating artist for Sandarbh-a context for experimenting with artistic processes, and exploring new modalities of viewership and public participation in art. This involvement has helped her develop projects in collaboration with communities based on dialogical and participatory practice. One of her recent project, Equilibrium in 2014 was supported by Creative Encounters: A cultural partnership between Asia and Europe, and allowed a rich cultural exchange between 10 artists from Asia and Europe.
Shilpa has travelled extensively and participated in several residency programs in Germany, South Korea, and India and recently at the Bemis Centre for Contemporary Arts (USA) in 2015 under the thematic residency of Future of Food.
Shilpa has tremendous experience of working in close collaboration with artists in supporting and developing projects. Currently she is also working as a Program Director at Space Studio, Vadodara designing a robust program for artists.
She has post graduated from Hyderabad Central University in 2008 with MVA in Painting and holds a BFA in Painting from M.S.U, Baroda in 2005.
Shilpa lives and works in Baroda (Gujarat), India.
Silvia Amancei and Bogdan Armanu are an artist couple living and activating in the city of Iasi,Romania. They graduated BA (2013) and MA (2015) studies at “George Enescu” University of Arts (Faculty of Visual Art and Design) in Iasi. In the past, the artist duo has participated at several international alternative education programs: “Autumn School. The 3 s: the space, the social and the sensorium” at University of Applied Arts (2016, Vienna, Austria), “Summer School for Engaged Art”, project developed by “Chto Delat?” artistic group at Rosa-Luxemburg Foundation (2015, Berlin, Germany).
Their artistic practice could be positioned at the border between social studies and visual art, researching for methods and examples where art and artistic means can be instrumentalized in order to overexcite the ability to look beyond capitalism and create a (common) future. Working together since 2012, the two artists have materialized a series of solo exhibitions, exploring / analyzing / deconstructing / decomposing the paradigm of life exploitation: “What Past? What Future?” (2017, Linz, Austria), “When atoms collide and disturb entropy” (2017, Craiova, Romania), “Return to Spaceship Earth” (2017, Bucharest, Romania), “Talking about the Future” (2017, Cluj-Napoca, Romania), “Depresion, Uncertainty and other symptoms of Mortality” (2016, Lodz, Poland), “In Search for Causes and Realities” (2016, Iasi, Romania), “Clinical Architectures for a Compositionist Future (Part II)” (2016, Iasi, Romania), “Constellations of Desires” (2016, Iasi,Romania), “(No)Future” (2015, Eckernforde, Germany), “No Hope For a Future” (2015, Iasi, Romania), “Metropia” (2014, Iasi, Romania).Their works have been present in numerous collective exhibitions from which the most noteworthy are: “Odessa Biennial” (2017, Odessa, Ukraine), ” Ways of using absence ” (2017, Timisoara, Romania),“Non-Fictions” (2016, Bucharest, Romania), “BIDEODROMO. International Experimental Film and Video Festival” (2016, Bilbao, Spain), “After Eden” (2016, Budapest, Hungary), “Video Art Festival Miden” (2016, Kalamata, Greece), “In Times of Hope and Unrest” (2015, Bucharest, Romania) “Between Democracies 1989-2014”, (2015, Johannesburg, South Africa), “Appearance & Essence”,1 st Timisoara Art Encounters Biennale (2015, Timisoara, Romania), “Visualcontainer TV”, 28 th Instant Video Festival (2015, Marseille, France), “CLOSE-UP” (2015, Prague, Czech Republic), “Working Title” (2014, Sf. Gheorghe, Romania), “It already happened again” (2013, Iasi, Romania).
In the past, the artists have been accepted to several artist-in-residence programs at “warehouse.industries” (2017, digital residency) “Domino Contemporary Art Space“, (2017, Cluj-Napoca, Romania), “Wschodnia Gallery” (2016, Lodz, Poland), “Club Electroputere” (2016, Craiova, Romania), “quartier21 / Museums Quartier”, (2015, Vienna, Austria), “Otte 1, Kunstlerhaus”, (2015, Eckernforde, Germany), “Timisoara Art Encounters Biennial” (2015, Timisoara, Romania), and had video works commissioned by “Salonul de proiecte” (2017, Bucharest, Romania), “CAMERA PLUS. Biennial of contemporary photography and moving image” (2016, Iasi, Romania), “ArtycoK.tv” (2015, Prague, Czech Republic).
Histograms of an anxious present: ‘Imp in the garden and other fairy tales'
All of us carry, within ourselves, a generic notion of everyday normality. Like the reassuring background thrum of the tanpura, it allows us to cope with the scintillations and percussions of a demanding life, to average out the peaks and troughs of experience.
From the standpoint of such a normality, both perfection and the freak, the prodigy and the monster, the shimmer of beauty and the horror of mutancy are hazardous departures: they can plunge us either into fantasia or into nightmare. In their suite of mixed-media works, 'Imp in the Garden and Other Fairy Tales', Sanjeev Khandekar and Vaishali Narkar address these extremes head-on, to produce captivating entanglements between beauty and mutancy. The effect of these works is rather like that of a Zen koan: we are shocked into a deep awareness of the complexities that underwrite our current historical horizon.
Khandekar and Narkar have chosen the form of embroidery as their key medium, deploying its various avatars, drawing on the skills of numerous collaborators to structure their images. However, these images are not drawn from the traditional vocabularies of to which their artisanal colleagues are habituated. Rather, they emerge from the debates that shape our existence in epic-scale but also invisible ways: they allude to the human costs of ecological catastrophe, genetic manipulation, cellular and molecular engineering, and biological warfare. It is as though the micro-structure of the stitch, the basic unit of embroidery, were being re-fitted to serve the purposes of the microscopic vision and the nano-diagram. As the embroidery builds up, the effect is that of a dense, cumulative palimpsest, seen to advantage in low light: as layer is accreted upon layer, we observe how the threads and knots have been wrought and figured into elaborate, low-relief compositions, histograms of an anxious present.
The eponymous figure who gives his name to this exhibition, 'Imp in the Garden', refers to the chance of mutation that can disrupt the imagined bower of serene predictabilities: it refers to recessive genes that spring up without warning, to chemical prompts that can destabilise a sequence of hereditary transfer, to moments of saltation that spike the settled pace of evolution. In consonance with this emphasis on mutation, 'Imp in the Garden' is a richly layered project that holds our several bold proposals for a renewal of artistic practice. I would read it through the triple optic of research, design and the studio.
At the level of research, it has involved an extensive exploration of material across fields such as genetics, photography, embroidery, and teratology, and across such diverse venues as the archive, the antiquarian collection, the used-clothes warehouse and the internet. At the level of design, it has been sustained by a meticulous, painstaking and heuristic process of material choice, testing and prototyping. And at the level of the studio, we find that Khandekar and Narkar have developed a 'doing-space' that is part research laboratory, part workshop, and part school. They have not simply made use of existing skills; instead, even as they have learned from their weaver colleagues, they have engaged in dialogue with them, training them in new languages of image-making, encouraging them towards nontraditional responses to colour, texture and form. This suite of works, 'Imp in the Garden', is vital and refreshing as much for its formal experimentation as for the innovative methodology by which it has been conjured into being.
Bogman started off in the early 90s by getting involved in Romanian Hip Hop events and hosting a show on Radio Nova 22, the FM institution that shaped the music underground after the 1989 revolution. Collaborating with DJ Vasile, he later introduced a series of events at social hub Laborator, which turned the former gaming house in what became the legendary club The Web. In 2001, Bogman moved to New York, where he spent the next 7 years digging into the city’s rarest record archives, earning residencies at Apt and Nublu and managing Turntable Lab store. Back to Bucharest, he started the parties Fantastic Boogie, Camera Sambo and Boulangerie, he’s a DJ and currently one of the booking strategists for Control Club and Apollo111, as well as working daytime as a chef.
Mihaela Vasiliu is a visual artist and DJ from Bucharest, part of the Queer Nights family. Her musical selection varies from electro to disco and minimal, techno and beyond. Having a visual arts background, Chlorys approaches music with an interdisciplinary wit, caring for its social-political context just as much. She is a founding member of Corp. crew, a platform of women and female identified artists from Bucharest which promotes women in electronic music locally, while connecting the dots with other international artists and crews.
Von Bulowe, aka Cosima Opârtan, worked as an architect, and she currently is involved with art groups specialized in music and performance. She began her musical career as half of music duo Raze de Soare, a band focused on exploring the outernational, minimal sound of Restaurant Music from the 80s/ 90s. She is interested in working with the image or surface of things as they appear, as a subversive way of raising questions. She is a founding member of Corp. platform, as well as the party series Queer Night.
Electroclown is Adi Cimpoesu, an eclectic DJ with an international music collection. From folk to electronica, jazz and fusion, dub and afrobeat, classical and minimal.
Marius Houschyar is a young visual artist from Dresden, a producer and DJ of experimental electronic music in the area of ebm, electro, kraut; present at festivals and clubs from all over Europe, like Camp Cosmic from Germany.
Ianuaria is a project initiated by Cristian Cotarcea, after a decade long wandering around the world through ashrams, temples, churches of all color and confession, sitar rhythms, tabla, didgeridoo, khora, sematron, hang drum and other magical instruments.
Megan Dominey and Alexandru Grigore, both 3rd year students at UNARTE, are artists based in Bucharest. They are the owners and organizers of the Moxa 20 studio/gallery space and their work ranges from serigrafie, painting, publishing, photography and beyond.
Melanie Velarde is a Berlin based artist with a history in experimental music and contemporary art, which she uses as a medium to explore her passion for field recordings. She fathoms melancholic states and their physical fragments, employing different forms of media. RVNG Intl, the label that released her debut album, Parcel, notes that Velarde’s archiving practices evoke the solitary spaces where collections of transcendental objects are suspended.
Journalist, writer and experimental musician, Miron performs and creates as a member of the experimental noise duo Nava Spatiala. The acoustic journey which he guides the listeners through contains field recordings, traditional instruments, Romanian experimental music samples and sonic ephemeral objects.
M. Micleusanu is a multidisciplinary artist: writer, musician, illustrator and visual artist; he published short stories (Organismemecanice), novels (Tuba Mirum, Kasa Poporului), graphic novels (Amokalipsis) and developed leftfield musical projects such as Planeta Moldova, Antishow, Farmacie & Pompe Funebre, Zelda, Febre39, Pneumaton (idm noir, experimental).
Multumult pitches the exclusive practice of free improvised music, and the creation of a group where artists and improvisers can meet and manifest. This explains the changing avatars of the band members, switching from acoustic to electronics, converging in duos, trios or quartets. Călin Torsan (wind instruments), Marius Achim (percussion) Vasile Gherghel (acoustic mise en scene).
A group of anthropologists and sound merchants, activating for some years on the Bucharest music scene either at own organized parties in oddball locations (The Astronomical Observatory, Ponton dock club in Carol Park), either as residents of Control Club.
Interested in the peripheral local and international genres and the connections they have created more or less accidentally in history, Paul Breazu's project PARADAIS SNDSSTM is this time accessing an essential source for the Romanian party music of the '90, the Bollywood of the '60s-’70s.
Saşa-Liviu Stoianovici includes in his artistic practice various media - sound, video, food, traditional musical instruments, animal elements. His installations become interference points between peasant archaic objects and new technologies. He collects folklore and searches for endangered traditional music and crafts. He mixes mamaliga and sounds in a continuous search for the meanings of everyday gestures, banalized for generations. Artistic concerts and performances on the Avantgarde Festival Schiphorst Festival, Balkanik Festival, he also exhibited at exhibitions such as In The Light of Utopia, 2011, ICR London, The Absurd in Visual Arts - Homage to Eugen Ionescu, ICR Budapest, 2009. Founder of Nu & APA NEAGRA and BALKAN TAKSIM.
Dan Michiu is an young illustrator, tape collector and experimental musician involved in a series of music projects such as Fake Bantame, Abator Industries, Loungerie.
Sillyconductor is one of the monikers of Catalin Matei, a Romanian sound artist living in Bucharest. Sillyconductor’s main focus has always been on classical music and its relationship with hazzard or mathematics: projects such as Ventichitara (a selfmade improvisation instrument built out of USB fans), 100 Catronomes (a golden remake of Ligeti’s Poeme Symphonique employing 100 Maneki Neko cats) or the Pianosaurus (a post-modern mechanical piano) explore the overlapping areas between technology, classical music and humour.
Sneha Khanwalker is one of the most versatile film music composers in Bollywood. His most acclaimed work is the OST to the Bollywood film Oye Lucky! Lucky Oye!. Besides traditional and electronic instruments, Sneha adds up a number of abstract components in order to reach a contemporary sound, which describes the internalized music of space. Also known as the host of a documentary mini-series for MTV, Sound Trippin, which focused on exploring local sounds from various parts of India, inviting local musicians to create authentic sound.
Somnoroase Păsărele, the sonic architecture project of visual artist Gili Mocanu, eludes the restrictive character of categorizing music based on genres. Beyond techno, post-punk and experimental electronics and none of the above, Gili doesn’t aspire to understanding music through these boxes. His first albums were launched on the label Baba Vanga. Somnoroase Păsărele has performed on experimental music festivals in Romania and Europe.
Fraunberger has performed at festivals throughout the world and released on various labels. He is focusing on sonic embodiment and the shaping of fluid sculptures. His compositions and performances work their way through “nature's very own modular patch” using otherworldly dialects to result in possible tongues of pre-modern-futures. Based in Vienna, Fraunberger has lived and worked in Aleppo, Sana'a, London, Tehran, Sibiu, Benares, Brussels and Istanbul. His work is deeply informed by the study of different languages, traditions, and understandings of modernity. Working in the fields of performative sound art, vocal and instrumental composition he also does sound installations and translates/interprets non-idiomatic sufi poetry in theory and practice as well as creating soundtracks for movies and contemporary dance.
Bogdana Dima, Calin Torsan Diana Miron, Laurentiu Cotac, Sian Brie - musicians part of Iancu Dumitrescu's Hyperion Ensemble International, PFA Orchestra, Multumult, And Then This, Her Voice and other local and international electro acoustic improv/free jazz musical projects that performed at major festivals and events in both Romania and Europe like Saptamana Sunetului or CTM Berlin.
Made up of two anthropologists and members of The Attic editorial team, Stimmung is a project of sonic exploration which combines more music genres: ambient, experimental, industrial, drone, etc. Their bet is to transform the listening in a ritualistic experience.
A collective of DJs, journalists, anthropologists, artists, directors and actors which form the core editorial crew of the online magazine The Attic, as well as the team which organizes the multicultural music festival Outernational Days.
Kasinadhuni Avadhut is a young musician studying violin at the National Music University Bucharest. He also mastered tabla playing, under the guidance of Guru Kamal Kant.
Anne-Marie Ene is a graduate of the Musical Interpretation Faculty (violin section), from the National Music University Bucharest (1995), of Trinity College London and Gandharva Mahavidyalaya, New Delhi. She has been active as a concertmaster at Delhi Symphony Orchestra (2002 – 2003) and a professor at British School New Delhi (2001-2006). She performed concerts in Romania, Bulgaria, India, France, Germany and Serbia. She is currently part of the Radio Chamber Orchestra where she frequently performs as concertmaster, as well as a collaborator of “George Enescu” Philharmonic Orchestra.