Project Components - creative minds and social media

Breakfast with Marcelo Guimarães Lima / Frühstück mit Marcelo Guimarães Lima

Posted on 20. January 2013by Simone Naumann Fotografie

Marcelo Guimarães Lima is a painter, printmaker and writer. He has taught drawing, painting, printmaking, the history and the theory of art in Brazil, in the United States, in Spain and in Dubai (UAE). He has illustrated books, worked with animators, painted murals, directed community-based art projects in the US, in Brazil and in Spain. His work has been exhibited in the US, Europe, UAE and Brazil. We are looking forward to the interview with Marcelo and welcome him to “Breakfast with …”Auf Deutsch weiter lesen  

What are you having for breakfast?Coffee, bread and butter. Frugal. For me, the essential part of the breakfast in the morning is the coffee to start the day.

What is your favorite breakfast place in your city?At home

What do people like most about your city and what do you like most about your city?There is a certain energy in the city, the crazy pace can be invigorating at times, at other times is just…crazy. São Paulo is a city with a very interesting intellectual life, this is one of the things that I like about it.

Marcelo Guimarães Lima “Turbillon (Homage to Leonardo)” digigrafia, 2011

What are you currently working on?As usual, I am researching and writing on several art and art historical themes at the same time. I am interested in the impact of new technologies on the visual arts today. On what it does to our very concept of art. And, of course, our concept of art is  essentially related to our concept of who we are. We live in a time of cultural mutations, and that poses interesting challenges to artists.  I am also planning my next series of art works. Writing and planning, sketching, looking for visual ideas, they all go somehow together, even when words and images seem to follow different routes.

What inspires you and what do you when an idea comes to you?To make a point, to mark a position, to have a perspective on the world we live in, that is, to reflect and develop a point of view with the tools of our trade. Inspiration happens when art intersects with the world at large, with life. When that happens, I keep going to see where the work will take me.

What is the one project you are most proud of?
The last one I did, and the next one I will do with what I learned from the one I just finished….it is an ongoing process and experience…always.
The Imagination of Disaster is a series of digital drawings I did in 2011 that I like to mention here. Also, I published in 2012 a book of essays on art: Heterochronia and Vanishing Viewpoints . It was published by Metasenta Publications in Melbourne (Australia). You can read the presentation at my blog Panoptikon. The title indicates that we live a heterogeneous time experience in our globalized world today, and that our understanding of it can only be provisory at this point.

Read the complete interview here

PROJECT COMPONENTS - creative minds and social media

The great art of graphic narrative

Marcelo Guimarães Lima

Commonly known as "comics" in its modern form, whose origin can be located at the end of the 19th century with the development of the illustrated press as a means of mass communication, the modern graphic narrative form is divided into genres and sub-genres and its history is related to different modes, means and forms of drawing and visual storytelling through time.

The classification of comic as "The 9th Art" seems to be fully justified when we encounter a sophisticated and stimulating presentation of contemporary graphic narratives, exceptional collections of  past artists, together with the variety of  visual forms that are related, directly or indirectly  to the old and perennial human interest of storytelling through images. 

The pages of  Coconino World configure a unique project, at the same time an open access contemporary creative platform and  a virtual library for preservation and for historical research. A project located in Angoulême, France, that deserves to be visited again and again by all who are interested in the graphic arts and their formal and imaginative potential when created with freedom, passion and talent.

COCONINO WORLD

The Philosophy of Photography - Ovronnaz (Switzerland), 26-29 June 2013

CALL FOR PARTICIPATION

Workshop

The Philosophy of Photography

Ovronnaz (Switzerland),
26-29 June 2013

More information :

http://www.jiribenovsky.org/philosophyofphotography/index.html

Speakers :

Rob Hopkins

Gregory Currie

Robin Le Poidevin

Dawn Wilson

Dominic Lopes

Mikael Pettersson

For organizational reasons, anyone who wishes to participate should

subscribe in advance (as soon as possible, please) by contacting

jiri@benovsky.com

Images and Images by Rayelle Niemann

                           Open publication - Free publishing - More canon

Images and Images by Rayelle Niemann

a visual stroll through images on women, in Egypt and beyond, in Arabic and English

Rayelle Niemann, (1958, Zurich) works as a free-lance curator, writer and artist. Her projects revolve around the research on social phenomenon, spaces/places, created by, and provided for the human being and the arising reciprocal influences and effects. Furthermore her interests focus on imagery, possible visibilities, approaches to truth and distraction in photography. Since 2003 she is based in Cairo. Interdisciplinary projects have taken her to Lebanon, Jordan, Palestine, Syria.

APOCALYPSE / REVELATION by Irene Barberis at Langford 120, Melbourne

                                                                               

Irene Barberis and Wilma Tabacco, Directors of

Langford120

take pleasure in inviting you to the opening of

APOCALYPSE / REVELATION by Irene Barberis

Exhibition is on view from October 13  to November 11, 2012

 images of works can be viewed on the website

Langford 120 is a commercial gallery complex which hosts three independent entities: Re:United, Global Centre for Drawing and Metaspace International.  The exhibition space, located at 120 Langford Street, North Melbourne, is a large, newly refurbished warehouse designed for flexible use.

Langford 120 aims to provide a variety of exhibiting opportunities for established and emerging artists so that their contribution to art will reach a greater audience in Australia and overseas.

Opening Hours:
   
Wednesday to Saturday: 11 am - 5 pm
Sunday: 1pm - 5 pm
(Closed Public Holidays)

Email: langford120@gmail.com
Web: langford120.com.au

Panoptikon: new series

From the second semester of 2007 to the first semester of 2012 the Panoptikon: On Contemporary Visual Culture was based at the Visual Communication Department of the American University in Dubai. The Panoptikon is now moving to a new location and will start a new series soon.

To reflect on these times of changing cultural geographies,  new spatial configurations and new temporal dimensions of experience, of movable networks and emerging figures of  thought, and of changing forms of representation, has been one of the central goals of our digital publication. Of course, the evaluation on how successful we have been in this task, it is a task that can be better (or must be) accomplished by our readers.

At this point, the Panoptikon plunges in the flowing currents that link and unify, that transport and reconfigure the forms of our world and change our ways to locate ourselves in it. We will, hopefully, emerge in a new ground that will allow us a new perspective on our previous path, what we have seen, registered and reflected upon so far, and, based on that experience, on what new, present and future configurations of the arts and the culture we can disclose, elaborate, anticipate or recognize. Where the vanishing point and the point of origin coincide, we become the flux we observe.

Marcelo Guimarães Lima

An Image Reader - picturing image production in the Middle East by Rayelle Niemann

A Picture Book 
by Rayelle Niemann

This on-line publication places itself in the tradition of freely accessible contextual media that shares information and creates avenues of thoughts. It is an open and ongoing platform. To be continued. 

Not only in regions with high illiteracy images are prevailing, we live in an image-producing world. The amount of documents broadcasted and streamed by (civilian) journalists, compiled by activists, and a huge creative outlet paved the way for a closer look on images produced in 2011 and beyond. 

The puzzled stroll through a contextualized imagery does not claim any completeness. It rather pursues the random, step-by-step. The images compiled here speak for themselves with a lingering loose chain of associations. The idea, that it will go away when you do not see it, fails and reality transcends imagination. Supposedly one year, here go decades, centuries. Aspirations of generations, their rights and mushrooming networks seen from Umm i Dunia, the mother of the world in Cairo, Egypt.

Open publication - Free publishing - More art

Rayelle Niemann, (1958, Zurich) works as a free-lance curator, writer and artist. Her projects revolve around the research on social phenomenon, spaces/places, created by, and provided for the human being and the arising reciprocal influences and effects. Furthermore her interests focus on imagery, possible visibilities, approaches to truth and distraction in photography. Since 2003 she is based in Cairo. Interdisciplinary projects have taken her to Lebanon, Jordan, Palestine, Syria.

 

 

"Marcelo G. Lima—Postcards from the Aesthetic Diaspora"

J.R. Osborn

'This is a historical lab, Dubai. The city of the permanent diaspora.’

- M.G. Lima

For over five years, Marcelo Guimarães Lima has been living and teaching in Dubai, a perplexingly global city populated by an expatriate majority. In 2007, he began sharing his aesthetic and critical observations online via the ‘Panoptikon’ (www.panoptikon.net). As Dubai’s glittering skyscrapers stretched towards the sky, he kept his feet firmly planted on the ground: drawing lines and sketching figures that connect the frenzied project of globalized development with the contemporary experience of artistic production. 

 Heterochronia and Vanishing Viewpoints:
Art Chronicles and Essays
by Marcelo Guimarães Lima
published by
Metasenta Publications,
Melbourne, 2012.

Dr. Lima’s observations remind us that questions of Dubai’s modernity are also aesthetic questions. Between the rise and fall of economic and political fortunes—the meteoric rise of Dubai as a bourgeois playground, the global economic crash, a wave of social network revolutions—art persists on its own pace. The autonomy of art modulates a timeframe in which the artifact and observer circle one another with shared subjectivity. As a city of monuments that briefly sat atop the world’s imagination, Dubai locates the riddle. But its reflections are global.


The following collection travels smoothly from Latin America to Europe through Australia and beyond. These are not centralized dictates from the panopticon but scattered glimpses of the panopticon core. These multiple reflections on artistic communication point us toward a shared experience of imagination, possibility, and aesthetic sensibility. Through a continual process of looking inward, the diasporic position connects the dots and new figures emerge. Although the ball may move across the center of the field, the sidelines offer the best vantage point from which to observe the beautiful game.


Near the center of this collection, Dr. Lima introduces imagination as the common faculty of art and science. Both processes shape our sensory inputs into a string of signification. Signification here is both informative and constructive; it is transformative as well as enlightening. Dr. Lima is particularly interested in artistic signification as ‘the creation of the experience of possibility.’ His essays demonstrate that the viewing of art can be an experience of the possible.

“From now on all art will be Mimetic again, or will not be!”

— Pierre Menard

It is here that we may glimpse a ‘theory of art’ that resonates across the text (presuming, that is, that such grand claims can still be made, much less voiced from the outskirts). As touristic flâneurs, Dr. Lima guides us from the Italian Renaissance through the graffiti- pocked streets of São Paulo; from the gold mines of 1920s Peru into the gold-plated fixtures and crystal chandeliers of Abu Dhabi’s Emirates Palace; from visualizations of twenty-first century data to political challenges contra 1980s conservatism. We leave the baroque halls of the Louvre and step into the bustling noise of a modern day traffic circle. Circling the intersection of advertising and public art, signs point toward the shifting gaze of Emirati painting, the vistas of photographic surrealism, the liberatory vision of a cyborg transhumanism, and the silent echoes of Japanese calligraphy. Choosing an exit at random, we return to a darkened chamber, decorated with the aesthetic SCRAPS of industrial Dubai.


This book freezes a shifting environment; it materially remediates the online Panoptikon series. These writings appeared in digital form during the period of 2008-2011. The blog posts were linked to other sites, re-linked from other sites, and embellished by commentsand user input. As digital entities, they continue to shift and evolve in a networked ecology. Yet, it is fitting that they also gain new life, and a new temporal presence, in book form. The book is a curious artifact: historically significant, temporally experienced, radically memorable, prematurely pronounced dead, refreshed, reissued, and persistently stubborn in its resurrection. Like works of art, books communicate autonomously from the external passage of time. The book provides a material portal into moving currents of signification which are paradoxically bounded from the world in which the artifact dwells and circulates. As a curatorial collection, this book isolates its contents from the flows of networked information and organizes them in a visual array. As a gallery of informational art, it allows us to view the displayed works side by side. The juxtaposition introduces us to the themes and palette with which Dr. Lima works.


As we flip these pages, we enter his experience of possibility. We are displaced through new sensibilities of artistic communication and hetero-synchronous time. Dr. Lima has sent us an invitation to join him in the permanent diaspora. These works are the Derridean postcards of an aesthetic dérive. They imitate and remediate artistic discovery. In doing so, they also record a global journey upon which we have recently (or long ago) embarked and which the possible destinations are yet to be imagined.

J.R. Osborn is an experimentalist and scholar of communication. His research focuses on design aesthetics, media technologies, and the visual culture of the Middle East and Africa. Dr. Osborn holds a Ph.D. in Communication from the University of California, San Diego and is currently a professor in the Communication, Culture & Technology program at Georgetown University.

The above text is the introduction to the volume Heterochronia and Vanishing Viewpoints: Art Chronicles and Essays by Marcelo Guimarães Lima published by Metasenta Publications, Melbourne, 2012. 

(read the Brazilian Portuguese translation here: MALAZARTES)

METASENTA PUBLICATIONS 

International Drawing Fair 2012: the finalists

http://onlinefid.com/finalists/

FID (Foire Internationale du Dessin / International Drawing Fair, Paris) has been discovering and promoting the careers of young artists since 2007. In 2011 this International Drawing Fair welcomed participants from 22 countries. In 2012, 27 countries are taking part. As is the rule since 2009, the hundreds of applications to exhibit at this fourth edition of FID were reviewed by an international jury of recognised contemporary art experts and drawing specialists. Its vote has produced the following shortlist of 96 independent young artists.

In a few days’ time, the jury will vote again to select the 25 exhibitors at FID 2012.

100 drawings for the future

“Components“ at „Projekt Social Media“

Exhibition opening on the 11th May 2012, 7 p.m.
Galerie Farbenklang in Sankt Pölten/Austria

  

The time has come: „Components“ is coming together.  190 creative minds of the world of social media create an installation of 5 meter length at the  „Galerie Farbenklang“ in Austria.  Thank you very much for all your contributions, your support and motivation.

See you soon!

Simone Naumann,  project director

Unsolicited Criticism - allotrope 04 - Call for submissions

allotrope 04

Call for submissions:

Unsolicited Criticism

Guest editor: Sarah McAvera

Do you feel that reviews have become overly descriptive and lacking in criticality? Would you like to unleash your inner critic?

The Unsolicited Criticism edition of Allotrope invites you to  write the review that you feel should have been written about an exhibition, performance, event or body of work.

Submissions should be no longer than 500 words (please note that your submission may be edited) and any accompanying images should be in JPEG or tiff format at 300dpi.

Submissions should be sent to allotropepress@gmail.com  by 22nd May 2012.


About our guest editor:

Sarah McAvera enjoys engaging critical thinking in a number of areas, including writing, curating and facilitating. She currently works for the Golden Thread Gallery as Exhibitions Officer, she was a founding member of the Untitled Arts Group and continues to act as a free-lance arts facilitator, curator and writer. 
                   
She has facilitated numerous exhibitions at local, national and international levels. Her current position includes the organisation of exhibitions, securing funding, representing artists and representing the organisation.She has written for many arts magazines, including the Irish Arts Review, State of Art, Circa and Cura.

www.allotropepress.com

"Glitter Dust: finding art in Dubai" interview with Katy Chang and J R Osborn

Glitter Dust - interview with Katy Chang and J R Osborn from panoptikon on Vimeo.

The documentary "Glitter Dust: finding art in Dubai" by Katy Chang and J R Osborn was presented at the Gulf Film Festival in April 2012. This interview was recorded on April 16, 2012 at Festival City in Dubay.

panoptikon.net
glitterdustfilm.com