March 4th, 2017 Submissions for Mixed Media 2017 are now open: visual artists from the worldwide scene working in a variety of media and disciplines are invited to submit their works. We’ll seek to explore issues and concepts in relation to the embodied experience in time and space; the hybridization between identities and cultures; as well as the binary constructs of social spaces and identities.
APPLICATION FORM
We are looking for creative minds, emerging artists and professionals widely different artistic fields. Proposed ideas are of more significant importance: we are particularly interested in highlighting work in all media that pushes boundaries in terms of form and content, is ambitious and timely, and is experimental and risk-taking. From the curatorial perspective, the main focus of Mixed Media 2017 will be on the intersections between perception, memory and identity. Creating art isn’t always done by conventional means nor with conventional materials. The challenge becomes strategizing and synthesizing the disorder that is unavoidable when combining varying mediums.
• There are no restrictions regarding age and nationality of the applicant.
• Groups and collectives are accepted to participate as well.Prospecting participants must submit a short abstract describing their works and additional attachments for a thorough evaluation of the contribution.
• Any further related materials as high resolution images links to video or audio, pdf files, such as your CV and your artist's statement can be sent via email to our board directly to: mixedmedia@europe.com
Jenny Saville in conversation with Nicholas Cullinan
Jenny Saville is joined in conversation with Nicholas Cullinan, Curator, Tate Modern. This very special event is a rare opportunity to hear the artist discuss her recent practice in the context of the exhibition at Modern Art Oxford.
British artist Jenny Saville (1970), one of the Young British Artists, deconstructs the stereotypes of beauty and eroticism of the female body as seen through art and through men, and then broadens them. She experiments with obese women and changes in the body, but above all she uses her own body as a model and means of reflection. She reveals the natural beauty of the individuality of the women she paints, and her own. This defines her artistic language as much as her traditional pictorial technique. Figures are the sole focus of attention of her huge canvasses, which often cannot contain the whole figure in the same way that our selves cannot control our bodies. Her painting and her skill at drawing spawn a multiplicity of realities that build movement. Recent solo museum exhibitions include Museo d’Arte Contemporanea, Rome (2005); Norton Museum of Art, Florida. Saville’s works are featured in several public collections, including the Metropolitan Museum of Art, New York; The Broad, Los Angeles; Museum of Contemporary Art, San Diego; and Saatchi Collection, London. Saville’s work was included in the 50th Biennale di Venezia in 2003.
Interview with Canadian figurative painter Andrew Salgado
Andrew Salgado has been hailed as one of the most promising young figurative painters working today, riding atop 11 sold-out exhibitions, and being endorsed by critics like Tony Godfrey, Edward Lucie-Smith, and more. Saatchi Art calls him "one to invest in now"; and Artsy states he 'complicates portraiture [with] a sense of frailty and potency'. He has been featured in GQ, the Evening Standard, The Independent, METRO, The Globe and Mail (CAN), Macleans (CAN), and more.
Forthcoming solo exhibitions include TEN, a survey exhibition at The Canadian High Commission, Trafalgar Square, London, (Jan-Feb 2017) to coincide with an artist monograph of the same name available now for purchase HERE. This is followed by an institution exhibition, A Room With a View of the Ocean with Rhys Lee at Lauba Art House in Zagreb, Croatia (May 2017).
In 2015 Salgado curated The Fantasy of Representation at Beers London, including work by Francis Bacon, Gary Hume, and Hurvin Anderson.
An Interview with Nick Cave at the Institute of Contemporary Art/Boston
Artist Nick Cave spent several days installing his solo exhibition at the ICA Boston in February. While he was here, we asked him about the evolution of his newest works, the surprising inspiration behind his legendary Soundsuits, and what it feels like to put one on.
Nick Cave creates “Soundsuits”—surreally majestic objects blending fashion and sculpture—that originated as metaphorical suits of armor in response to the Rodney King beatings and have evolved into vehicles for empowerment. Fully concealing the body, the “Soundsuits” serve as an alien second skin that obscures race, gender, and class, allowing viewers to look without bias towards the wearer’s identity. Cave regularly performs in the sculptures himself, dancing either before the public or for the camera, activating their full potential as costume, musical instrument, and living icon. The artist also works with choreographers, dancers, and amateur performers to produce lavish community celebrations in untraditional venues for art. Dazzling in their movement, Cave’s sculptures are crafted in collaboration with artisans from a dizzying array of materials that include beads, raffia, buttons, sequins, twigs, fur, and fabric. The “Soundsuits” are also displayed in exhibitions as static sculptures, arranged as groups of figures in formation that are striking in their diversity and powerful stance. Cave’s sculptures also include non-figurative assemblages, intricate accumulations of found objects that project out from the wall.
