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Gallery4allarts - Newsletter

Welcome to the 2009 Newsletter page!

Please, click links below. Thank you.

March - April - May, June -July - August -September, October - November,

December 2008 - January 2009

To read notes on how to send your art related advert; please browse main newsletter page.

__________________________________

2009

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For Theatre and Music events (limited) please, browse to the bottom of page. Thank you.

_______________________________________________________________________________________

WelshArtNow - The online art magazine

“ The August edition of the artzine WelshArtNow has been published and can be viewed at www.welshartnow.org. This months issue carries some interesting reviews by Derrick Price and Jude Roland, two outstanding critics. The role of the critic is not an easy one, their response can determine the success or not, of a creative venture. Welsh art has suffered, from a total lack of critical debate and this does not engender a healthy open art scene. There have been dominant voices but you must ask is this what Welsh art requires, a pseudo cultural high priest? This magazine gives voice to many varied opinions, we believe in spreading it out. Our Featured artists are Infinity Bunce and Mark Morris. Infinity is a Welsh artist forging a career in the crucible of the London art world. She does top notch portraits of - ordinary people - like us. Her pictures look real and now. Mark produces truly mesmerising sculptural forms that inspire contemplation.”
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15th of August 2009

Shoot Liverpool Interactive Photography Experience at the Bluecoat Saturday August 15th

@ the Bluecoat , Liverpool

Following a popular treasure hunt event at Tate Liverpool in 2008, Shoot Experience are returning to Liverpool this summer with their unique interactive photographic story-telling experience. Held at the Bluecoat, this Shoot Storyboard event will take Liverpool by storm on Saturday August 15th. Teams begin the day at the Bluecoat, where they are given different parts of a pre-written story and sent into the local streets to find inspiration and take photos that respond to or represent each phrase or word. At the end of the day, teams return to the Bluecoat to submit their photos and all the images are compiled to create a unique photographic storyboard. Prizes are of course awarded for the best and quirkiest photographs, as participants relax after one of the most fun and creative days to be had in Liverpool. The Bluecoat is the oldest Grade 1 listed building in central Liverpool and re-opened in March 2008, after a £14.5m redevelopment, as a major landmark on the UK map of contemporary culture. The Bluecoat uses its spaces to showcase talent across all creative disciplines including visual art, music, literature, dance and live art and nurtures new talent by providing studio spaces for artists within a unique creative community.
Experience in photography is not necessary to enjoy the event, all that is required is creativity and enthusiasm. Fantastic prizes such as Olympus cameras are given for categories including best overall and most creative photo. Please see http://www.shootexperience.com/events/info/170 for more details, or buy tickets at HYPERLINK "http://www.shootexperience.com/tickets" http://www.shootexperience.com/tickets. After the event, there will be an exhibition of all of the images taken on the day at the Open Eye Gallery, Established in 1977, Open Eye Gallery is one of the UK's leading photography venues. Currently preparing for its ambitious move to the Liverpool waterfront in 2010, the Gallery is continuing, throughout 2009, to present occasional exhibitions and events.
Shoot Experience is an experiential photography organisaton producing a wide variety of public photography events, competitions, workshops and corporate events. Shoot Liverpool Date: Saturday August 15th 2009
Venue: The Bluecoat, School Lane, Liverpool, L1 3BX Time: 11.15am-6.30pm Cost: £12.50 per person BUY TICKETS: 0151 702 5324, HYPERLINK "http://www.thebluecoat.org.uk/" http://www.thebluecoat.org.uk/

Exhibition Dates: Wednesday 26th August to Saturday 5th September Venue: Open Eye Gallery, 28-32 Wood Street, Liverpool, L1 4AQ Time: 10.30am-5.30pm Tuesday to Saturday Contact details: 0151 709 9460, info@openeye.org.uk Website: HYPERLINK "http://www.openeye.org.uk/" http://www.openeye.org.uk/
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until Tuesday 15 September 2009

‘ Paul Neagu (1938-2004): A Portrait’ - Photo Exhibition by Laurentiu Garofeanu

Open until Tuesday 15 September 2009
@The Ratiu Foundation / Romanian Cultural Centre, Manchester Square, 18 Fitzhardinge Street, London W1H 6EQ; Tel. 020 7486 0295 ext. 108
Opening times: Mon - Fri 12.00 - 18.00. Admission free
(booking essential, by phone or e-mail at bookings@romanianculturalcentre.org.uk).

To commemorate Paul Neagu (1938-2004) - sculptor, painter, poet, and larger-than-life character - the Ratiu Foundation / Romanian Cultural Centre in London have opened a special exhibition of portraits of Paul and his work, taken by photographer and film-maker Laurentiu Garofeanu during 2003-2004.

Paul Neagu came to London in 1969 at the invitation of Richard Demarco. By that time he had already worked on the construction of dams in the Danube, and studied painting at the Nicolae Grigorescu Institute in Bucharest.

In London he started his career by lecturing at Chelsea School of Art and Hornsey College of Art, and many of the young sculptors he taught subsequently achieved international recognition. Since gaining British citizenship in 1977 he has been widely recognised, not only for his input in British sculpture, but also as the author of a series of drawings, paintings and performances. In 1992 he obtained Romanian citizenship, and became a citizen of both Britain and Romania.

His inspirations are said to come partly from works of Cubism, Marcel Duchamp, Brancusi, but his major influences can also be said to be the metaphysics of geometry, mythology, and eschatology. Focusing on his interest in the concept of movement, exploiting his background as a technician and engineer in his creations, he also explores themes of modern philosophy, using metaphor rather than logic as a tool.

The exhibition was launched with a special Culture Power presentation in memoriam Paul Neagu, on 2 July, where ‘The Heart of the Tornado’, a documentary film by Laurentiu and Agniezska Garofeanu, was screened. The projection was introduced by art critic and writer Mel Gooding and followed by a lively Q&A with the film-maker, and with friends of Paul sharing some of their memories of this great man.

This exhibition was made possible through a Ratiu Foundation grant.

Organised by The Ratiu Foundation / Romanian Cultural Centre in London
www.ratiufamilyfoundation.com; www.romanianculturalcentre.org.uk

________________________________________________________

7th of September 2009

Grants for the Arts Seminars for First-time Applicants

@ Blackburne House, Liverpool
Below are details for the next Grants for the Arts seminar to be held in Liverpool on 7 September 2009 - 2pm - 4pm specifically targeting individuals - If anyone would like to book a place then please contact my colleague Rachael McKenna 0161 827 9241 or email: gfaseminarsnw@artscouncil.org.uk

Grants for the Arts Seminars for First-time Applicants
Arts Council England, North West is offering a seminar for potential first-time applicants to Grants for the arts.
The seminar is free of charge and is designed to provide a valuable introduction to the scheme, offering guidance on how to complete an application form and budget for your activity, how to understand the assessment criteria and how to write the proposal, as well as getting further advice on your ideas and support in making your application.
The next seminar will be held at Blackburne House in Liverpool on Monday 7 September from 2-4pm, specifically targetting individual artsists. Further seminars will be confirmed later in the year.
If you would like to attend the seminar, please book by email listing your name, contact number and any access requirements.
For bookings only: gfaseminarsnw@artscouncil.org.uk or Rachael McKenna on 0161 827 9241.
If you would like further details about Grants for the arts and details of how to apply, please visit www.artscouncil.org.uk/funding <http://www.artscouncil.org.uk/funding> or contact 0845 300 6200.
www.artscouncil.org.uk

________________________________

25th of August - 25th of October 2009

“The Human Emotion Project”

The Human Emotion Project, invented and managed by South African artist Alison Williams will be presented at the INTERNATIONAL FESTIVAL OF CONTEMPORARY ART. The Festival will take place in Villa Garikula, Georgia from 25th of August to 25th of October 2009.

The Human Emotion Project is a collaboration of international artists using film/video to interpret human emotion visually for global screenings.

The curator Karaman Kutatelatze has chosen also, Joas Sebastian Nebe’s film "Loosing control" for the screening at the festival. The film "Loosing control" interprets fear as changing cityscape and is part of the collection of PHILOSOPHICAL CARTOONS. The collection is part of the DIAF (Deutsches Institut fuer Animationsfilm), Dresden, Germany.

For more informations about the Human Emotion Project, please refer to

http://www.artreview.com/group/humanemotionproject2009

For more informations about Joas Sebastian Nebe’ art please go to www.jsnebe.de
_________________

“Encounter”
University of Chester
Fine Art Department Staff Exhibition



Encounter is an exhibition of artwork by staff from the Department of Fine Art, Faculty of Arts and Media, at the University of Chester. The academic staff who teach across undergraduate and postgraduate programmes in Fine Art and Photography are all practising artists with national and international exhibition and research profiles.

As such the work within this exhibition is a representative selection of that practice and seeks to exemplify the interests and concerns that drive each individual. Diversity of intent and outcome therefore, is a prevailing feature of this show.

www.contemporaryurbancentre.org

Tel: 0151 708 3513

_________________________

Postgraduate Research Forum - CALL FOR PAPERS

@Tate Liverpool
Call For Papers for a postgraduate research forum titled Painting: Series, Space and Style, taking place at Tate Liverpool on 22 October.

Painting: Series, Space and Style
Thursday 22nd October 2009, 2-5pm
In 1958 Mark Rothko was commissioned to paint a series of paintings for the Four Seasons restaurant, in the Seagram Building in New York. This commission would mark a stylistic departure from his earlier work, towards a more severe architectural scheme. As the series progressed, his colours shifted from bright and intense hues to a selection of maroon, dark red and black. Working in a studio that was similar in proportions to the restaurant, Rothko painted three different versions of the series. The artist later commented on his intention for the paintings to create a deliberately oppressive atmosphere, like that of Michelangelo’s Laurentian Library in Florence. Having decided that the fashionable restaurant was an unsuitable place for the contemplation of his art, Rothko withdrew from the Seagram commission. Instead, in 1968 and 1969 shortly before his death, the artist presented nine of the paintings to the Tate Gallery on the condition that a room would be devoted exclusively to their display, finally achieving the immersive environment he had envisaged for the paintings.

To coincide with the display of the Seagram Murals at Tate Liverpool, this research forum invites proposals for papers that explore the themes of series, space and style in modern and contemporary painting. How can individual paintings work collectively? What is the relationship between a painting and the environment in which it is displayed? What are the factors that inspire a radical change in style? Topics for discussion could include, but are not limited to:

• Works in series
• Repetitions and variations on a theme
• Late style or late work
• Painting becoming installation
• Public versus private display
• Rothko’s influence on subsequent generations

The forum will be chaired by Achim Borchardt-Hume. Formerly of Tate Modern, where he was responsible for curating the recent Rothko exhibition, Borchardt-Hume is now Chief Curator at the Whitechapel Gallery, London.

All current postgraduate and PhD students are invited to submit proposals for papers of no more than twenty minutes. Cross-disciplinary approaches are welcome.
Please submit proposals (500 words max) accompanied by a brief academic biography to antoinette.mckane@tate.org.uk no later than SATURDAY 15th August 2009.

The information is also on the Tate website:
http://www.tate.org.uk/liverpool/eventseducation/symposia/19663.htm

________________________________________________________

July - August 2009

“Watercolours of Liverpool by Keith F. Smith”

Gostins Gallery
Gostins Building
32 - 36 Hanover Street
Liverpool
L1 4LN

Contact: lisedgar@live.co.uk

_________________________
until August 2009

"Tactile" - Mosaic Exhibition by Liverpool artist: Debbie Ryan

@ Norton Priory Gardens

_____________________________________________________

until 27th September 2009

2nd Biennale of Contemporary Art in Tessaloniki, Greece

The theme and title for this years biennial is "PRAXIS: Art in Times of Uncertainty",

inspired from the book by Terry Eagleton: "After Theory" and deals " with praxis, not in contrast with, but in conjunction with theory, as an inherent component of the identity and social role of the artist."...

"PRAXIS: Art in Times of Uncertainty "

"In his seminal novel A Tale of Two Cities (1859) about life in Paris and London, the English novelist Charles Dickens wrote ‘It was the best of times, it was the worst of times, it was the age of wisdom, it was the age of foolishness…we had everything before us, we had nothing before us.’ aptly capturing the mood of the time. Almost a hundred and fifty years later the feeling of disillusionment, the failure of politics to handle the ‘big’ problems, the recent financial collapse, the assault on the environment and a general sense of individual and collective alienation which a global society has not been able to rectify all seem palpable. Might we be the observers of a universal depreciation of the system of thought, of an irreversible collapse of ideologies?

In the field of cultural production the dominance of the art market, the ineffectiveness of cultural theory and the over-theorisation of culture seem to have dissociated art from real life. In his provocatively titled book After Theory, the English theorist Terry Eagleton claims not the death of theory, but the redefinition of its goals and fields of research. Perhaps this time of uncertainty could be the moment for the reconsideration of the intrinsic worth of artistic practice. The moment to explore art as a privileged space for relatively free expression of ideas and for an alternative view of the world and the social environment. An art that goes back to life, back to Praxis, to the creative activity that contributes to the formation of a political view and to a new way of thinking and being. According to ancient Chinese philosophy, revolution is realignment with the order of the world. Could this be the time to seek a true revolution? Can art provide a window of opportunity in these uncertain times? "

Gabriela Salgado, Bisi Silva, Syrago Tsiara

November 2008
http://www.thessalonikibiennale.gr/programme.php?lang=en&ptype=1

__________________________________________________________

"How Green is art?"

Artist Paul Matosic looks for the 'green' in art

"We are all aware of the term food miles and some may even aspire to shop within a local economy, buying only locally produced seasonal food, leaving the exotic imported food on the shelves. Can we apply the same criteria to the way we consume art, if you live in an urban area with a thriving artistic community - maybe. However, within a rural community where the only art outlets are for the tourist trade your choice of artwork might be limited.


It is ironic that at a time when internationalism is being promoted as the way forward for the creative industries, we are being encouraged to reduce our consumption of long haul air flights etc. The credit crunch has probably had more effect on people’s carbon foot print than any laudable government initiative encouraging people to consider the environment.

How does the art world deal with climate change? Often it simply does nothing, taking the attitude that we have such a small impact on the issue that any effort we make will not be noticed. In an industry where getting noticed is the key to success, making unnoticed initiatives is simply not going to happen. Artists produce waste, it’s inevitable, using physical materials creates a waste residue. Even artists who do not deal with physical stuff inevitably create residue by marketing. This is where through working together, galleries and artists can set an example of good practice that might just be noticed and emulated by others.


The Arts Council of Wales (ACW) is the main arts body responsible for funding and developing the arts in Wales. They are the ones that hand out cash to artists and arts organisations. An ideal position from which to promote a green agenda within the arts? We asked them what initiatives they had, we were disappointed to be told that they recycle paper and ink cartridges. This is aimed at their internal administrative process rather than any public promotion of green values within Welsh art. Even their web site prompts on every page. ‘Print this page’. In this electronic age shouldn’t we all be trying to move to paperless solutions? Good practice has to come from the galleries and the art organisations. They have to accept that their administration processes contribute to climate change and that there is room for change. I was once asked by a gallery to provide printed information, despite having all the information in electronic form on their system. Because the project purported to be dealing with climate change I refused to comply, I was not selected.

How about the art itself? Are some art forms more environmentally friendly than others? Video art would seem to be the perfect solution. Convert the white walled gallery space to the black walls of the video space. The artist film does offer some solution to the problem of art miles. Perhaps this proliferation is more due to the ease of exhibition than any environmental concern. Live streaming could offer a solution. Art made in one location and beamed into the gallery. It still needs content though. A recent exhibition with a gallery in America, specifically about climate change; hypocritical to leave a trail of carbon footprints across the Atlantic. The solution was to build the installation here, web stream to the gallery and add to this projected image with more of the same material. In this instance, the activity became the message rather than the installation; the materials, redundant technology, a comment on built in redundancy, endemic within consumer society. Technology offers some solutions but should not be a cheap fix and is no replacement for the physicality of objects.


Some early conceptual and minimalist artists, offered art mile reduction methods; the wall drawings of Sol Lewitt, who sent specific instructions to a team of technicians on how to execute his drawings. Do you remember Carl André, the guy who caused a storm when he laid out his bricks in the Tate? This work could be emulated anywhere using local materials. The Tate bricks aspired to specific mathematical dimensions, which could not be substituted by any old local brick, perhaps these issues were more to do with conditions of ownership rather than aesthetic design.


What are some of the leading lights in the art world saying about his? I have never heard Hirst expressing any opinion or consideration for environmental issues; his motives seem firmly rooted in the production of wealth. Art might be the first victim of any major environmental catastrophe How useful will art/artist be in the ‘day after tomorrow’ scenario. You might see Tracy Emin’s bed floating down the Thames, finding a new function as an improvised raft. The works of Henry Moore and Richard Serra would certainly be most sought after in any post cataclysmic age. Big metal sculptures are sure to be useful in post apocalyptic soceity. There could be benefits to this, some of the more horrendous public sculpture works in Wales could find themselves mopped up to other uses.


The real art miles are incurred when art/artists move between countries, so called international art. There are strategies that artists can adopt to keep this to a minimum. I have done several international exhibitions without transporting any materials but only because of the type of work and the materials that I use; and through negotiation with the exhibition organisers. It does not work with pre prepared work. There are problems, the increased amount of time required to source the materials, but hey whizzing around a new town looking for stuff is very much like a holiday experience anyway and time spent meeting new artists and curators can lead to more opportunities and ideas. I try to avoid transporting materials but have to accept that sometimes it is unavoidable. Any art work that expresses a concern for the environment should lead by example or at least acknowledge its own carbon print.


One of the largest International art festivals is the Venice biennale. In 2007 Heather and Ivan Morison represented Wales, they created a large shed like installation from wood sourced from their own forest in Wales. Perhaps the origin of the wood was integral to the work and certainly the structure was fairly complex and time consuming to develop. I think it is safe to assume that they have wood in Italy so perhaps this work could have been made on site using local sourced materials and local craftspeople, I do not for a minute doubt the integrity of their work just raise the question about its development within a climate change paradigm.


Every two years Cardiff stages the Artes Mundi one of the largest most prestigious art exhibitions in Europe. Two curators spend a year roaming the world looking at the work of many artists. Selected artists are invited to bring their work to Wales to show it on the international stage. An exhibition that is big in every way: big art, big money, big talk, big crowds, big air miles - massive carbon emissions. It has much to commend it but is it totally out of kilter with the environmental concerns of our age. Is it really art at any cost or would we expect a more enlightened creative response to this? International art raises the cultural profile of Wales and is beloved of arts bureaucrats and disinterested politicians. It might improve trade and bring much need tourist cash to the Welsh economy but at what cost. Most of the time, the benefits of these initiatives are measured in economics with scant regard for infrastructure and the environment.


Of course to a greater or lesser extent we are all complicit in this problem and it would be hypocritical not to acknowledge this. So as you sit holding this paper based bit of communication in front of you, sipping your Latte at a pavement cafe. First thought should be ‘it’s December what am I doing sitting outside’. The other is does not this magazine contribute to global warming with its use of paper, printing, distribution etc. I am not advocating a return to cave based society, where everything is reduced to its lowest possible environmental impact. Print is okay, I like books and magazines they are a convenient way of transporting information, magazines can be passed onto others, articles can be harvested for future reference and print is a wonderful source of collage material. Yes this magazine could be made into an on line edition, but in so doing it becomes less accessible, especially for those without a computer. The solutions are not easy or obvious; perhaps a creative approach is required - just what an artist might offer!


Paul Matosic is an international artist

Artist Paul Matosic looks for the 'green' in art
We are all aware of the term food miles and some may even aspire to shop within a local economy, buying only locally produced seasonal food, leaving the exotic imported food on the shelves. Can we apply the same criteria to the way we consume art, if you live in an urban area with a thriving artistic community - maybe. However, within a rural community where the only art outlets are for the tourist trade your choice of artwork might be limited.


It is ironic that at a time when internationalism is being promoted as the way forward for the creative industries, we are being encouraged to reduce our consumption of long haul air flights etc. The credit crunch has probably had more effect on people’s carbon foot print than any laudable government initiative encouraging people to consider the environment.

How does the art world deal with climate change? Often it simply does nothing, taking the attitude that we have such a small impact on the issue that any effort we make will not be noticed. In an industry where getting noticed is the key to success, making unnoticed initiatives is simply not going to happen. Artists produce waste, it’s inevitable, using physical materials creates a waste residue. Even artists who do not deal with physical stuff inevitably create residue by marketing. This is where through working together, galleries and artists can set an example of good practice that might just be noticed and emulated by others.


The Arts Council of Wales (ACW) is the main arts body responsible for funding and developing the arts in Wales. They are the ones that hand out cash to artists and arts organisations. An ideal position from which to promote a green agenda within the arts? We asked them what initiatives they had, we were disappointed to be told that they recycle paper and ink cartridges. This is aimed at their internal administrative process rather than any public promotion of green values within Welsh art. Even their web site prompts on every page. ‘Print this page’. In this electronic age shouldn’t we all be trying to move to paperless solutions? Good practice has to come from the galleries and the art organisations. They have to accept that their administration processes contribute to climate change and that there is room for change. I was once asked by a gallery to provide printed information, despite having all the information in electronic form on their system. Because the project purported to be dealing with climate change I refused to comply, I was not selected.

How about the art itself? Are some art forms more environmentally friendly than others? Video art would seem to be the perfect solution. Convert the white walled gallery space to the black walls of the video space. The artist film does offer some solution to the problem of art miles. Perhaps this proliferation is more due to the ease of exhibition than any environmental concern. Live streaming could offer a solution. Art made in one location and beamed into the gallery. It still needs content though. A recent exhibition with a gallery in America, specifically about climate change; hypocritical to leave a trail of carbon footprints across the Atlantic. The solution was to build the installation here, web stream to the gallery and add to this projected image with more of the same material. In this instance, the activity became the message rather than the installation; the materials, redundant technology, a comment on built in redundancy, endemic within consumer society. Technology offers some solutions but should not be a cheap fix and is no replacement for the physicality of objects.


Some early conceptual and minimalist artists, offered art mile reduction methods; the wall drawings of Sol Lewitt, who sent specific instructions to a team of technicians on how to execute his drawings. Do you remember Carl André, the guy who caused a storm when he laid out his bricks in the Tate? This work could be emulated anywhere using local materials. The Tate bricks aspired to specific mathematical dimensions, which could not be substituted by any old local brick, perhaps these issues were more to do with conditions of ownership rather than aesthetic design.


What are some of the leading lights in the art world saying about his? I have never heard Hirst expressing any opinion or consideration for environmental issues; his motives seem firmly rooted in the production of wealth. Art might be the first victim of any major environmental catastrophe How useful will art/artist be in the ‘day after tomorrow’ scenario. You might see Tracy Emin’s bed floating down the Thames, finding a new function as an improvised raft. The works of Henry Moore and Richard Serra would certainly be most sought after in any post cataclysmic age. Big metal sculptures are sure to be useful in post apocalyptic soceity. There could be benefits to this, some of the more horrendous public sculpture works in Wales could find themselves mopped up to other uses.


The real art miles are incurred when art/artists move between countries, so called international art. There are strategies that artists can adopt to keep this to a minimum. I have done several international exhibitions without transporting any materials but only because of the type of work and the materials that I use; and through negotiation with the exhibition organisers. It does not work with pre prepared work. There are problems, the increased amount of time required to source the materials, but hey whizzing around a new town looking for stuff is very much like a holiday experience anyway and time spent meeting new artists and curators can lead to more opportunities and ideas. I try to avoid transporting materials but have to accept that sometimes it is unavoidable. Any art work that expresses a concern for the environment should lead by example or at least acknowledge its own carbon print.


One of the largest International art festivals is the Venice biennale. In 2007 Heather and Ivan Morison represented Wales, they created a large shed like installation from wood sourced from their own forest in Wales. Perhaps the origin of the wood was integral to the work and certainly the structure was fairly complex and time consuming to develop. I think it is safe to assume that they have wood in Italy so perhaps this work could have been made on site using local sourced materials and local craftspeople, I do not for a minute doubt the integrity of their work just raise the question about its development within a climate change paradigm.


Every two years Cardiff stages the Artes Mundi one of the largest most prestigious art exhibitions in Europe. Two curators spend a year roaming the world looking at the work of many artists. Selected artists are invited to bring their work to Wales to show it on the international stage. An exhibition that is big in every way: big art, big money, big talk, big crowds, big air miles - massive carbon emissions. It has much to commend it but is it totally out of kilter with the environmental concerns of our age. Is it really art at any cost or would we expect a more enlightened creative response to this? International art raises the cultural profile of Wales and is beloved of arts bureaucrats and disinterested politicians. It might improve trade and bring much need tourist cash to the Welsh economy but at what cost. Most of the time, the benefits of these initiatives are measured in economics with scant regard for infrastructure and the environment.


Of course to a greater or lesser extent we are all complicit in this problem and it would be hypocritical not to acknowledge this. So as you sit holding this paper based bit of communication in front of you, sipping your Latte at a pavement cafe. First thought should be ‘it’s December what am I doing sitting outside’. The other is does not this magazine contribute to global warming with its use of paper, printing, distribution etc. I am not advocating a return to cave based society, where everything is reduced to its lowest possible environmental impact. Print is okay, I like books and magazines they are a convenient way of transporting information, magazines can be passed onto others, articles can be harvested for future reference and print is a wonderful source of collage material. Yes this magazine could be made into an on line edition, but in so doing it becomes less accessible, especially for those without a computer. The solutions are not easy or obvious; perhaps a creative approach is required - just what an artist might offer!"

Paul Matosic is an international artist.

This article has been published with the kind permission of the http://www.welshartnow.org/

_________________________________________________________________________

'Waste into Art' - Exhibition Reviews

This exhibition was organised in Liverpool at the Liverpool Art Academy by Red Dot artist collective, during May 2009.

http://www.catalystmedia.org.uk/reviews/waste_into_art.php
http://www.la-art.co.uk/Exhibtions/E146.php
http://www.artinliverpool.com/index.php/maingalleries/laa/1518-laa-waste-into-art

___________________________________________________________________

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