The latest NIXON ART MOSH event just happened in Munich and the works exhibited on this occasion again look top quality. See the video they put together about the show.
I had the chance to attend the last NIXON ART MOSH held in London last year and I did not get disappointed but rather amazed. The venue, Rochelle School was one of the best venue I have seen for art shows – set on two levels, airy and large.
Beyond the excellent choice of venues, ART MOSH is all about getting a mix of artists and talents from various medias and they do it rather well – painting, photography, design, sculpture, music and street art, there is something for everyone. Regular artists include names like Dan Baldwin, Jaybo Monk or Faith47
NIXON ART MOSH shows are as eclectic as the bunch of artists and people attending the event. Once night only but what a night. I cannot wait for the next show in London.
I have included a few pics from last year’s ART MOSH in London
Featured artists at ART MOSH LONDON (last year – 25/11/10):
Richie Culver (UK) | Alexander James (UK)| Bose Collins (UK)| Andreas Muller (UK) | Thomas Traum (UK) | Morgan Slade (LA) | Yoskay Yamamoto (LA) | Sophie Stephens (UK) | Andrew Hem (LA) | Faith 47 (South Africa) | Herakut (Germany) | Mark Ward (UK) | Hornhead (UK) | Niall O’Brian (UK) | Tomomi Sayuda (UK) | B Project (UK) | Filtr (UK) | Sawdust (UK) | Neil Ayling (UK) | Yoojin Jung (UK)
The Art Conference (TAC)is a two-day arts festival exploring the intersection and evolution of technology, art and culture, bringing together global visionaries and creating a platform to discuss, connect and engage with contemporary art from a fresh perspective. TAC is bringing together a programme of international keynote speakers from the worlds of technology, art and culture.
TAC is founded by contemporary art curator Tina Ziegler in partnership with The IWSC Group. Bermondsey’s The Ugly Duck, a three – storey 19th century warehouse, will be filled with film screenings, panel discussions, exhibitions and digital art installations.
What to expect at TAC
TAC #01 will debate and deconstruct change on the subjects of social engagement through street art and how technology can enrich our experience with art and culture. Our inaugural conference explores the evolution of street art with a curated weekend of keynote presentations, panel discussions and networking opportunities for those with an interest in the future of this global movement.
Art by MASER (click to enlarge)
• Explore the evolution of Street Art, via a program of keynote presentations debating the social, political and environmental change that the medium is creating in ever-more powerful ways.
• Learn about technology’s influence on Street Art in the creation of rapidly-expanding global communities and the emotional energy covering urban landscapes worldwide.
• Meet representatives from across the art world during regular breaks, while enjoying international cuisine and a drink at the bar.
• Have an early chance to invest in astonishing new art initiatives and artworks on exhibition during the event.
The settings
TAC #01 spans all three floors of Ugly Duck, a contrarily stunning 19th century warehouse located on Bermondsey’s Tanner Street.
The exhibition hall will be transformed into a maze of mini – solo exhibitions, virtual reality experiences and digital art installations from both local and international artists.
Ugly Duck, Bermondsey, London
Visitors will also be treated to food and drink from local chefs in the outdoor food court, while networking breakfasts and afternoon teas will be provided by Unity Kitc hen, a social enterprise that helps to create jobs and apprenticeships for people with disabilities.
Installations, illustrated, digital art and more
World renowned light artist and poet Robert Montgomery displays his much – loved light installations.
Colin McMaster shows a collection of original acrylic and hand – cut wood paintings while artist Jordan Seiler exhibits his Public Ad Campaign work where visitors can test how the artworks transform when viewed through an iPhone.
Art by Jordan Seiler
Jose Monte mayor presents Virtual Awakening, an immersive, life – after – death virtual reality experience.
Ziegler hopes that pairing the works of local creators along side internationally – acclaimed visionaries will allow the conference to evoke achievable aspiration in attendees. She comments
I have always wanted to encourage dialogue, critical reflection and interaction with arts and technology, striving to bring people together to connect with the arts and help break down the boundaries people often find when engaging with art.
15 international speakers
TAC will offer a series of curated, thoughtful and interconnecting presentations by representatives from the wider art world – curators, artis ts, collectors and art administrators. My aim is that TAC will allow the worlds of art and technology to meet and inspire each other.
The conference will present a curated selection of more than 15 international keynote speakers – see the TAC website for further details. Each of the speakers share their unique stories and experiences and offer practical insights in to the art and creative industries.
Unquestioning. I, say I. Unbelieving. Questions, hypotheses, call them that. Keep going, going on, call that going, call that on. Can it be that one day, off it goes on, that one day I simply stayed in, in where, instead of going out, in the old way, out to spend day and night as far away as possible, it wasn’t far. Perhaps that is how it began. You think you are simply resting, the better to act when the time comes, or for no reason, and you soon find yourself powerless ever to do anything again. No matter how it happened. It, say it, not knowing what. Perhaps I simply assented at last to an old thing. But I did nothing. I seem to speak, it is not I, about me, it is not about me. These few general remarks to begin with. What am I to do, what shall I do, what should I do, in my situation, how proceed? By aporia pure and simple? Or by affirmations and negations invalidated as uttered, or sooner or later?
Generally speaking. There must be other shifts. Otherwise it would be quite hopeless. But it is quite hopeless. I should mentions before going any further, any further on, that I say aporia without knowing what it means. Can one be ephectic otherwise than unawares? I don’t know. With the yesses and the noes it is different, they will come back to me as I go along and how, like a bird, to shit on them all without exception. The fact would seem to be, if in my situation one may speak of facts, not only that I shall have to speak of things of which I cannot speak, but also, which is even more interesting, but also that I, which is if possible even more interesting, that I shall have to, I forget, no matter. And at the same time I am obliged to speak. I shall never be silent. Never.” Opening paragraph to The Unnamable by Samuel Beckett
Contemporary philosopher Alain Badiou asks if we can name a truth, anticipating and forcing into knowledge all the elements contained in that truth, risking a totality of knowledge related to it; a problem, for example, in politics where this turns to totalitarianism. He says, “The construction of a truth is made by a choice within the indiscernible…But the potency of a truth depends on the hypothetical forcing…The problem is to know whether such a potency of anticipation [hypothetical forcing] is total…My answer is there is always, in any situation, a real point that resists this potency.
I call this point the unnameable of the situation. It is what, within the situation, never has a name in the eyes of truth. A term that consequently remains unforceable. This term fixes the limit of the potency of a truth. The unnambeable is what is excluded from having a proper name, and what is alone in such exclusion. The unnameable is then the proper of the proper, so singular in its singularity that it does not even tolerate having a proper name. The unnameable is the point where the situation in its most intimate being is submitted to thought; in the pure presence that no knowledge can circumscribe. The unnameable is something like the inexpressible real of everything a truth authorizes to be said.” Alain Badiou from Infinite Thought
The unnameable is something I have personal experience with. The secret and the truth. I’ve held both of these things, safeguarding, I thought, others and myself. Both secret and truth can be destructive if kept silent. But it has been my experience that once spoken, the unnameable is an agent of transformation; it comes in facing what’s real.
Read more of my interview, When Context Takes The Game, conducted by Becky Huff Hunter for This ‘Me’ of Mine.
Badiou, Alain, Infinite Thought, Continuum International Publishing Group, London, New York. Trans and ed by Oliver Feltham and Justin Clemens, 2005 – 2011. “Philosophy and Truth”, pp. 43 to 51, originally titled “The ethic of truths: construction and potency” quote p.49.
If you are keen on graffiti, you must have seen #codefc stuff on some walls, one of his latest and probably most seen is the Olympic runner with the message “Fuck 2012 – I am ready now ”
The man behind #codefc has been active as a graffiti artist for a long time, for about 22 yrs actually but he has been using #codefc for the last 12 years. #codefc references to a hexadecimal color code use in web technologies which coincidentally can be broken down into the word “code” and “fc”, the initials of our artist in question.
#codefc started to do graffiti in Rome where he got arrested doing a train carriage. Keen on using stencils, most of his stuff are location related, some of his projects are coDe-DAY in Normandy , stuDIED in Cambodia or viet-code in South Vietnam where fictive characters are invented and stencil on a surface.
Some of you will have notice the use of what looks like a filming camera. Talking to #codefc, we found out that he is also a keen film maker and that the camera depicted in his works is S8 cinecam which is also used as a logo.
#codefc paint as much as in London than abroad and some of of his works can be seen below.
‘So It Goes…’ features new work from the artist’s notorious and much sought after Pulp Fiction series, which explores the porous boundary between reality and fiction. The duo have created an exclusive collection of original hand painted Pulp Fiction paperbacks, original canvas works and hand painted limited editions that reflect their interest in how our understanding of the world is formed by the narratives we tell about it.
Following a series of sell out exhibitions from Los Angeles to Sydney, these internationally acclaimed artists are back in London with not only a new body of work, but a new cause – the foundation on an NGO in association with the artists’ friends and collaborators Pussy Riot. The new show will combine reality and fiction with an installation detailing their experiences in ‘The Jungle’ refugee camp in Calais. Hang-Up will be releasing a third limited edition charity print to raise further funds to build additional shelters when they return to The Jungle with Pussy Riot in December.
WHAT – ‘SO it goes’ by The Connor Brothers WHERE – Hang Up gallery, 81 Stoke Newington Road, Stoke Newington, London N16 8AD WHEN – 13 NOV – 6 DEC 2015
Jester Jacques – First of all, how did your interest in art making come about? Were there any specific events or influences in your childhood which swayed you to be more creative?
Novemto Komo – I have always been doodling since I was kid, on the wall of my parent’s room and my room; also sticking stickers I got on the doors all around the house.
Simon Sarin Photography Copyright
I remember when I was in kindergarten and elementary schools, almost every weekend my parents took me to “Ancol art market” to see paintings, sculptures and crafts by local artists. We got our family portrait from one of the artist there using paper cut, and when my sister and brother were born, we also get their portrait done by the same artist. I also participated a lot in kids drawing competition and some of them came out top 3.
I also remember saw a painting by Ford Madox Brown, titled “Take Your Son, Sir!” in a book and I was finally able to see it in real a year ago in Tate Britain.
JJ – You were born in Indonesia. Does any of the culture seep into your work, even though you live in the UK?
NK – It does influence me a lot. There is so many social issues going on in Indonesia that kind of influence my way of thinking when developing the idea.
Also, the diversity of animals in Indonesia can be seen on most of my artwork lately. A lot of animals in Indonesia are very rare now and a lot are in risk of extinct.
JJ – Where did you study Fine Art and do you think it helped in your career as a visual artist? In what ways?
NK – I never studied Fine Art, I was trained as multimedia designer which lead to my first job as a junior flash developer. Then as time went on, I got more jobs doing illustration which carried me into doing more hand drawing/illustration. I got more into painting when I took my master in graphic design in 2010 at Newcastle where I had a lot of spare time to practice and develop my skills.
JJ – What is your fascination with animals? And anthropomorphising them?
NK- I started using animal a lot in my artworks as they are part of our life. They are also very attractive subjects because they are beautiful. I believe every human has their wild side which I interpret through animals.
I also want to bring awareness to people about animal extinction, especially caused by poachers and hunter. I’ve followed and joined a hunter online forum and feel sad every time I see them posted photos of animal they killed proudly.
Simon Sarin Photography Copyright
JJ – How do you get inspired?
NK – I get inspired from many things; news, people around me and their relationship towards each other. A lot of time I got inspiration by talking with strangers or random people. I visit Stolen Space Gallery a lot and Signal Gallery. I guess I get a lot of inspiration from street art around the world and there are so much of it in London created by international artists. To name a few, Faith47, Remi Rough, and Anthony Lister.
JJ – In your painting ‘Worst thing of Screaming,’ there is a feeling of pop art in there; the Lichtenstein type of shapes. Tell us more about that particular painting, as it stands out to me in your most recent body of paintings.
NK – The starting point of that painting was based on an idea of relationships. There are many situations where no one listens to you even when you scream out loud and sometimes it make you scream even louder, which end up make you feel like a freak show.
JJ – You do commercial work as an illustrator. What do you enjoy doing more – that, or your personal work? Is there an overlap in ideas and style, or do you try and keep them separated?
NK – I always try to separate the idea and style between them, but I have to admit sometimes there’s a mix in some of them.
JJ – Your work has a collage feel to it. How do you begin a new piece? Do you actually cut and paste, or just play with objects and figures as you go along?
NK – I never thought my work has a collage feel but I heard some people said that they thought my work was a collage, especially “escape the game.” I guess I just play with objects, figures and imaginations to visualise my idea into a painting. Many times when I’m in the middle of painting, I come out with some graphic elements that I can incorporate with and I just play around with it.
JJ – Do you have any exhibitions or projects/events coming up which we should look out for?
NK – The exhibition that I confirm at the moment is in December but I am doing another live art on the Tuesday the 24th this month during Jam Sandwich at The Russet Cafe. It is a monthly music event which I paint live depending on that night performers.
JJ – Finally, what piece of advice would you give young artists who want to pursue visual/fine arts?
NK – If you’re happy doing it, keep doing it as you never know what might happen.
As soon as you step in Stolen Space, you cannot help but look to the right as you have spotted something big from the corner of your eye. It is there. The vultur is looking at you.
No I have not gone mad but am only looking at Haroshi‘s masterpiece depicting what looks like a vultur with one noticeable detail – the wings are made of old skateboards decks. The gallery is hosting until the 3/11, Haroshi’s first solo show in this space and promised us something radically different, something fresh and unseen before. So far, they have not lied, I had not seen a vultur made of old skateboard decks before.
Originally from Tokyo, Haroshi has been collected and used discarded remains of broken down skateboard decks to produce wooden sculpture. The concept of reshaping what once was used as skateboard into pieces of art certainly sound like something that should have been done before.
Or maybe not. Maybe it was worth waiting all that time to see it done as Haroshi’s sculpture are beautiful, polished and colourful. It is hard to believe that the artist did not have any formal training in sculpture but is a 100% self taught artist. This is for the visual aspect.
Now, his works also transpire emotions, and especially “Agony into beauty” which depicts the face of a man who seems to be in pain.
Haroshi’s first solo exhibition at StolenSpace is indeed looking at the effects of emotional pain and how it can be a great motivating force in the creation of art. In short, the artist looked back at painful experiences and recycled them into his sculptures using recycling material, ie old skateboards decks.
A truly refreshing body of works that combines two worlds you would think will never meet – sculpture and skateboard
Haroshi first solo exhibition “Pain” runs until the 3/11/2013
Revisited famous paintings by Fat Cat who thinks that these iconic paintings would be better off with the appearance of a big ginger cat. Well some are defo better. See by yourself.
“Where now? Who Now? When now?
